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Christa Clarke’s African Art in the Barnes Foundation: The Triumph of L’Art nègre and the Harlem Renaissance represents the latest scholarship on objects from the Barnes collection. As the title suggests, Clarke is concerned with recounting the history of Albert C. Barnes’s little-discussed yet incredibly significant collecting of artworks from Africa, as well as the relevance of these objects to the larger institution. Barnes amassed a sizeable and important collection of art at the beginning of the twentieth century and established the eponymous Barnes Foundation with the goal of using his collection as a pedagogical tool for students of the foundation’s institute. By the end of the twentieth century, the collection was often overshadowed by the Barnes Foundation’s financial troubles and ensuing legal arbitration, the settlement of which culminated in the 2012 move of the collection to a new location in downtown Philadelphia. With the foundation’s legal disputes resolved, and access to the collection made much easier than in years past, scholars are once again evaluating and analyzing the collection.Clarke’s book consists of a substantial essay detailing the history of the African collection in the Barnes Foundation and its centrality to the institution and Barnes’s pedagogical mission. The remainder of the book is dedicated to excellent quality images of all 123 African items in the collection, accompanied by texts and analyses provided by fifteen scholars of African art: Arthur Bourgeois, Nichole Bridges, Kevin Dumouchelle, Kate Ezra, Sarah Fee, Till Förster, Christraud Geary, Kathryn Gunsch, Genevieve Hill-Thomas, Alisa LaGamma, Louis Perrois, Constantine Petridis, Mary Nooter Roberts, Monica Blackmun Visonà, and Susan Mullin Vogel. Together, these two components of African Art in the Barnes Foundation form a catalogue of artworks of African origin in the Barnes Foundation. The object analyses inform the reader of the particularities and character of the items in the collection, while Clarke discusses the larger meaning of the works within the foundation. Overall, the catalogue entries emphasize the connections that each object has with other objects in the collection, as well as connections to modernism. For example, in her analysis of a Bamana Female Figure (pl. 3), Ezra relates it to similar artworks in the Barnes collection and to European modernism, as the figure once belonged to the Fauve painter Maurice de Vlaminck (82). Vogel highlights the Guro Face Mask Surmounted by Bowl (Gu) (pl. 24), attributed to the Bouaflé Master, as an illustration of the progression of knowledge about African artworks from when the mask was collected to the present time (132). The authors emphasize such intersections by treating the artworks as distinct masterworks and describing their original contexts, as well as by highlighting the individual works as integral components of the foundation’s larger goals.Barnes began collecting African art through Paul...


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