7.6/10
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The Art of the Steal (2009)

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2:31 | Trailer
Documentary that follows the struggle for control of Dr. Albert C. Barnes' 25 billion dollar collection of modern and post-impressionist art.

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1 nomination. See more awards »
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Cast

Credited cast:
Julian Bond ...
Himself - Chairman of the Board, NAACP
David D'Arcy ...
Himself - Correspondent, The Art Newspaper
Richard Feigen ...
Himself - World-Renowned Art Dealer (as Richard L. Feigen)
Richard H. Glanton ...
Himself - Former President, Barnes Foundation
Christopher Knight ...
Himself, Los Angeles Times
Ross L. Mitchell ...
Himself - Former Director of Education, Barnes Foundation
Irv Nahan ...
Himself - Former Teacher, Barnes Foundation
Harry Sefarbi ...
Himself - Artist & Former Teacher, Barnes Foundation
John F. Street ...
Himself - Mayor of Philadelphia (as John Street)
Nick Tinari ...
Himself - Attorney & Former Barnes Foundation Student
Robert Zaller ...
Himself - Professor of History & Politics, Drexel University (as Dr. Robert Zaller)
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Storyline

Documentary that follows the struggle for control of Dr. Albert C. Barnes' 25 billion dollar collection of modern and post-impressionist art.

Plot Summary | Add Synopsis

Plot Keywords:

art | barnes foundation | See All (2) »

Taglines:

The true story of a multi-billion dollar art heist and how they got away with it.

Genres:

Documentary

Parents Guide:

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Details

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Language:

Release Date:

12 September 2009 (Canada)  »

Also Known As:

Искусство воровства  »

Filming Locations:


Box Office

Opening Weekend:

$39,019 (USA) (26 February 2010)

Gross:

$541,027 (USA) (21 May 2010)
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Company Credits

Production Co:

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Did You Know?


Soundtracks

Iron Man
Written by Ozzy Osbourne (as John Osbourne), Tony Iommi, Geezer Butler and Bill Ward
Performed by The Bad Plus
Courtesy of Sony
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User Reviews

 
One-Sided
27 January 2014 | by (United States) – See all my reviews

This documentary, while reasonably well-made and engaging, is essentially a piece of agitprop. It was produced and directed by, and stars, the loose connection of former Barnes teachers and other Friends of the Barnes who opposed the reorganization and relocation of the Barnes Museum of early modern masterpieces to downtown Philadelphia. Sure, politics was played and facts may have been concealed, but the counterargument for not moving the museum and opening it more broadly to the public never really surfaces in this film.

The Barnes was undercapitalized, the last of the original trustees had passed, the trust beneficiary, a struggling state college, did not want manage it actively, the residential neighbors in Lower Merion, Pennsylvania were crying "NIMBY" over the arrival of busloads of out-of-state visitors, and there were no living lineal descendants of the trustor, a quirky pharma pioneer described in the film as a "misanthrope," who died in a 1951 automobile accident at the wheel of his old Packard convertible. The art collection was literally and figuratively orphaned. No wonder the case was brought in Orphans Court.

The film convinced me, but it convinced me only to visit Philadelphia and take in the art collection in its new downtown home.


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