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Barnard, George Grey

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Barnard, George Grey Title: The George Grey Barnard Papers Creator: Barnard, George Grey (1863-1938) Inclusive Dates: 1889-1967 Bulk Dates : 1907-1938 Extent: 16 Boxes, 8 linear feet Collection Number: 28 Processed by : Catherine O’Sullivan Location: Cloisters Library and Archives, Fort Tryon Park, New York, NY Abstract: Material in this collection reflects George Grey Barnard’s career as a sculptor and collector of medieval art. Correspondence, clippings, published articles comprise its bulk. Other material includes photographs, sketches, card files, notebooks, a daily expense log, small clay models, miscellaneous artifacts, postcards, flyers, pamphlets, and business records relating largely to the Cloisters and L’Abbaye collections. A smaller portion of the collection relates to Barnard’s personal life, his estate and his family. Highlights of the collection include letters from Alexander Graham Bell, Theodore Roosevelt, Eleanor Roosevelt, Edsel Ford and John D. Rockefeller, Jr. Languages: English and French. Related Collections: Other significant George Grey Barnard papers are housed at the Philadelphia Museum of Art, the Bellefonte Historical Society in Bellefonte, Pennsylvania, the Pennsylvania State Archives in Harrisburg, and the Kankakee County Historical Society, Illinois. Provenance: Unknown; material in this collection appears to have been amassed and donated over time by a number of sources, namely Barnard’s wife, Edna Monroe Barnard, his son, Monroe Grey Barnard, and various members of the Cloisters staff. 1 Terms of Access and Use: The Barnard Papers is open and available for research according to The Cloisters Library and Archives regulations. Biographical Sketch: George Grey Barnard was born May 24, 1863 in Bellefonte, Pennsylvania to Presbyterian minister Joseph H. Barnard and Martha Grey Grubbe. His formative years were spent in Waukosha, Wisconsin, Kankakee Illinois and Muscatine, Iowa. Barnard took his first job with the Iowa Academy of Science, working as a taxidermist. In 1882 he entered the Chicago Academy of Design, forerunner to the Art Institute of Chicago, in order to pursue his dream of becoming a sculptor. It was there that he developed an interest in European art. A year later he moved to Paris, enrolled in the École des Beaux-Arts, and entered the atelier of academic sculptor Pierre-Jules Cavelier. Barnard eventually withdrew from the École but remained in Paris for the next several years, getting by on meager earnings from small commissions. In 1894 he made his professional debut at the Salon du Champ de Mars. Among the pieces that he showed was an eight-foot high marble sculpture entitled The Two Natures in Man . Inspired by the words of Victor Hugo and embodying the popular fin de siècle motif of the conflicted soul, it was by far Barnard’s biggest and most sensational piece. Alfred Corning Clark, founder of the Singer Sewing Machine Company, purchased The Two Natures in Man and later presented it to the Metropolitan Museum of Art where it still stands today in the Charles Engelhard Court of the American Wing. Barnard eventually returned to America in 1895 to wed Edna Monroe, daughter of Lewis B. Monroe, dean of the School of Oratory at Boston University. The couple settled in the Washington Heights neighborhood of upper Manhattan, where they soon started a family. Barnard taught sculpture fulltime at the Art Students League of New York, accepting the occasional private commission when it came his way. He saw to fruition a number of pieces first envisaged while living in Paris, including the award winning God Pan (1895-1898) and The Hewer (1895-1902). A notable turning point in the sculptor’s career came in 1902 when his friend William Clifford encouraged him to apply for a significant commission then being offered for the sculptural ornamentation of a new Pennsylvania State Capitol in Harrisburg. Barnard got the commission and signed a contract to deliver two complex sculptural groups comprising thirty-three life-sized figures. It was the largest single order ever given to an American sculptor at the time. Barnard moved his wife and 2 daughter to France – settling in the village of More-sur-Loing, near Fontainebleau – and threw himself into his work. It soon became evident that Barnard had seriously underestimated his costs; the disbursement barely covered the cost of marble needed to fulfill the commission, not to mention the cost of supporting his family. The commission was less than half finished when funds ran out in 1906. A new contract was negotiated, but corruption in the State Capitol’s planning soon came to light, casting serious doubt on the entire project. Its sponsors decided to suspend all funds, including the $300,000 that was allotted to Barnard. Out of sheer necessity, the sculptor entered the world of buying and selling antiques. These “antiques,” as Barnard referred to them, were bits and pieces of medieval masonry that had been used by local farmers over the centuries to patch up holes in the sides of their barns and chicken coops. Barnard would pay the farmers a few francs for their fragments of stonework, and then turn around and sell them to Parisian antique dealers for a gratifying profit. He traveled extensively, combing the French countryside for “antiques.” He started in Dijon and the Vosges region, working his way south to Languedoc and the eastern Pyrenees. Barnard put the Harrisburg commission on hold, and devoted the next six-months to “peddling antiques.” In the autumn of 1906, a group of New York businessmen arrived in France to untangle Barnard’s financial affairs. They managed to secure additional backing from the Pennsylvania State Capitol sponsors, and put him on an allowance to cover personal expenses. Barnard was thus able to resume work on the Harrisburg commission, which he completed in 1910. The commission, comprising two large marble sets of nudes entitled Les Joies and Les Douleurs , was first displayed publicly at the Paris Salon and then made its way to America for the Pennsylvania State Capitol’s dedication ceremony on 4 October 1911. Several important jobs followed shortly thereafter, including the monumental statue of Abraham Lincoln commissioned by Cincinnati philanthropist Charles P. Taft, brother of President William Howard Taft. Even with his celebrity as a sculptor renewed, Barnard continued to deal in medieval stonework, and amass a considerable collection of his own. He broadened his reach to include large Romanesque and Gothic architectural elements, namely the columns, arches and ceilings of deserted French monasteries. With private dealers unwilling to take such volume off his hands and the French government making a concentrated effort to stop the sale and exportation of monuments historiques , Barnard decided it was time to pack up his collection and return to New York. He considered opening his collection up to 3 young American artists who wished to learn the art of stonemasonry from the master stone carvers of medieval Europe, but in the end he decided to make it available to all Americans as a public museum devoted to medieval art. In December 1914, just ten days before Christmas, Barnard opened the doors to his “Cloisters” museum on Fort Washington Avenue for the benefit of French war orphans. The museum operated successfully from this location for a number of years but nonetheless proved to costly a venture for Barnard. In 1922 he put the collection up for sale. On 28 May 1925, John D. Rockefeller offered to purchase Barnard’s collection for $700,000, and reopen it as part of the Metropolitan Museum. Both Barnard and the Museum Board of Trustees accepted the philanthropist’s offer. In 1930, Rockefeller made large endowment to the City of New York. He donated Fort Tryon Park, a fifty-six acre tract of land on the northern tip of Manhattan overlooking the Hudson River, which is the present site of The Cloisters Museum. Once the Cloisters sold, Barnard devoted nearly all of his time to sculpting. In November 1933 he completed a full-scale plaster model of The Rainbow Arch , a 100-foot tall memorial to world peace. In 1936, he received the National Institute of Arts and Letters Gold Medal for Sculpture. A year later, in the first week of October 1937, Barnard opened the doors to his second Gothic collection named L’Abbaye , or the Monastery. Barnard succumbed just six months later on April 24, 1938, having suffered two heart attacks in one day. His funeral took place at the Monastery, which remained closed until May 1940. It reopened for three months under the joint sponsorship of the Municipal Art Society of New York and the National Cathedral of Washington, and then closed its doors indefinitely. On 20 February 1945, the Philadelphia Museum of Art purchased a large portion of the Gothic collection from Barnard’s estate. Barnard was buried in Harrisburg, Pennsylvania and was survived by his wife Edna and three children, Viva Barnard, Monroe Grey Barnard, and Barbara Barnard McGregor. Suggested Reading: William Forsyth. “Five Crucial People in the Building of the Cloisters,” in The Cloisters: Studies in Honor of the Fiftieth Anniversary . Elizabeth C. Parker and Mary Shepard, editors. (New York: The Metropolitan Museum of Art, 1992): 51-62. Calvin Tompkins. “Curators and Collectors,” in Merchants and Masterpieces: The Story of the Metropolitan Museum of Art (New York: Henry Holt and Company, 1989): 245-61. J.L. Schrader. “George Grey Barnard: The Cloisters and The Abbaye,” in The Metropolitan Museum Art Bulletin (Summer, 1979): 3-52. 4 Scope and Content: The George Grey Barnard Papers (1889-1967) contains a wide variety of archival material that documents the public and private life of the American sculptor and collector, George Grey Barnard (1863-1938). The bulk of the collection comprises correspondence and newspaper clippings. Other material includes photographs, sketches, card files, notebooks, a daily expense log, small clay models, miscellaneous artifacts, postcards, flyers, pamphlets, and business records relating largely to his Cloisters and L’Abbaye collections.
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