The life and times of extraordinary Philadelphia art collector Albert C. Barnes Philadelphia art collector Albert C. Barnes (1872–1951) is renowned today for collecting many of the world’s most important impressionist, post-impressionist, and modern paintings, and displaying them alongside African masks, Native American jewelry, Greek antiquities, and decorative metalwork. The museum that bears his name holds more than eight hundred paintings, with a strong focus on Renoir, Cézanne, Matisse, and Picasso, as well as other European and American masters. In The House of Barnes, Neil L. Rudenstine provides the first scholarly study on the historical, art historical, and political context during which Barnes purchased his masterpieces and attempted to redefine aesthetic education. Inspired by his good friend John Dewey’s educational philosophy, Barnes held art-appreciation classes for the workers in his factory. His successes there led him to establish the Barnes Foundation in Merion, Pennsylvania—more as an educational experiment than a typical museum. In 2012, the Barnes Foundation moved to the Benjamin Franklin Parkway in Philadelphia. Rudenstine presents the controversial events surrounding the Barnes Foundation’s move to Philadelphia, including an analysis of the Foundation’s financial plight, a review of the major court cases over the decades, and a characterization of the fervent reactions following the court’s decision to allow the move to take place. The House of Barnes chronicles the life and times of an extraordinary collector and the continued endurance of the Barnes Foundation long after the death of its founder. Originally published in 2012, this new edition contains sixteen pages of full-color reproductions of masterpieces from the collection, a new preface from the author, and a foreword from the prominent art historian Yve-Alain Bois.
What percentage of graduate students entering PhD programs in the arts and sciences at leading universities actually complete their studies? How do completion rates vary by field of study, scale of graduate program, and type of financial support provided to students? Has the increasing reliance on Teaching Assistantships affected completion rates and time-to-degree? How successful have national fellowship programs been in encouraging students to finish their studies in reasonably short periods of time? What have been the effects of curricular developments and shifts in the state of the job market? How has the overall "system" of graduate education been affected by the expansion of the 1960s and the subsequent contraction in enrollments and degrees conferred? Is there "excess capacity" in the system at the present time? This major study seeks to answer fundamental questions of this kind. It is based on an exhaustive analysis of an unparalleled data set consisting of the experiences in graduate school of more than 35,000 students who entered programs in English, history, political science, economics, mathematics, and physics at ten leading universities between 1962 and 1986. In addition, new information has been obtained on the graduate student careers of more than 13,000 winners of prestigious national fellowships such as the Woodrow Wilson and the Danforth. It is the combination of these original data sets with other sources of national data that permits fresh insights into the processes and outcomes of graduate education. The authors conclude that opportunities to achieve significant improvements in the organization and functioning of graduate programs exist--especially in the humanities and related social sciences--and the final part of the book contains their policy recommendations. This will be the standard reference on graduate education for years to come, and it should be read and studied by everyone concerned with the future of graduate education in the United States. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The life and times of extraordinary Philadelphia art collector Albert C. Barnes Philadelphia art collector Albert C. Barnes (1872–1951) is renowned today for collecting many of the world’s most important impressionist, post-impressionist, and modern paintings, and displaying them alongside African masks, Native American jewelry, Greek antiquities, and decorative metalwork. The museum that bears his name holds more than eight hundred paintings, with a strong focus on Renoir, Cézanne, Matisse, and Picasso, as well as other European and American masters. In The House of Barnes, Neil L. Rudenstine provides the first scholarly study on the historical, art historical, and political context during which Barnes purchased his masterpieces and attempted to redefine aesthetic education. Inspired by his good friend John Dewey’s educational philosophy, Barnes held art-appreciation classes for the workers in his factory. His successes there led him to establish the Barnes Foundation in Merion, Pennsylvania—more as an educational experiment than a typical museum. In 2012, the Barnes Foundation moved to the Benjamin Franklin Parkway in Philadelphia. Rudenstine presents the controversial events surrounding the Barnes Foundation’s move to Philadelphia, including an analysis of the Foundation’s financial plight, a review of the major court cases over the decades, and a characterization of the fervent reactions following the court’s decision to allow the move to take place. The House of Barnes chronicles the life and times of an extraordinary collector and the continued endurance of the Barnes Foundation long after the death of its founder. Originally published in 2012, this new edition contains sixteen pages of full-color reproductions of masterpieces from the collection, a new preface from the author, and a foreword from the prominent art historian Yve-Alain Bois.
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