Art works as children

 . . . [A]  wealthy oilman, Calouste Gulbenkian, accumulated a fabulous art collection and called the works ‘my children’. Mostly ignoring his flesh-and-blood son and daughter, he lived to serve his art. Claiming that ‘my children must have privacy’ and ‘a home fit for Gulbenkians to live in’, he built a mansion in Paris with barricades, watchdogs and a private secret service. He routinely refused requests to loan his art to museums, and did not allow visitors, since ‘my children mustn’t be disturbed’. But even this extreme of a collector who prefers art to people shows the importance of the social role of collecting, since Gulbenkian simply treated artworks as if they were people. And, when Gulbenkian left his collection to found an eponymous museum in Lisbon upon his death in 1955, he showed that he cared about people after all – just not the ones he happened to know.

Erin Thompson, Why People Collect Art , Aeon magazine

(from here) 

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