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Description: The Origins of Graphic Design in America, 1870–1920
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PublisherYale University Press
https://doi.org/10.37862/aaeportal.00152.002
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Acknowledgments
An earlier version of chapter 2 appeared as “Early American Graphic Design Periodicals,” in Journal of Design History 7,2 (1994): 113–26. It is reprinted in revised form by permission of Oxford University Press. An earlier version of chapter 6 appeared as “Alms for Oblivion: The History of Women in Early American Graphic Design,” in Design Issues 10,2 (Summer 1994): 27–48, and in Design History: An Anthology, ed. Dennis P. Doordan (Cambridge: MIT Press, 1995), 63–85. It is reprinted in revised form by permission of MIT Press Journals.
Much of the research for this book was undertaken at the Library of Congress in Washington, D.C., and I am deeply indebted to the staff for their skilled and patient assistance. Librarians at the Museum of American History, Smithsonian Institution; the Gelman Library, George Washington University; the Women’s Museum Library in Washington, D.C., the New York Public Library; the Rare Book Collection of the Butler Library, Columbia University; the Indiana University Libraries; and the Wisconsin State Historical Society also provided invaluable help.
For early encouragement of my research I thank Caroline Hightower, formerly at the American Institute of Graphic Arts, R. Roger Remington of the Graphic Design Department, Rochester Institute of Technology, and Jack Robertson at the Kimball Fine Arts Library, University of Virginia. Betty Jo Irvine at the Fine Arts Library, Indiana University, helped me in the final stages. Jeremy Aynsley of the Victoria and Albert Museum, and Victor Margolin at the University of Illinois, Chicago, were generous and careful editors for earlier versions of two chapters, and Dr. Margolin kindly steered me through some analytical difficulties later on. Joan Boudreau and Helena Wright of the Division of Graphic Arts, National Museum of American History, Smithsonian Institution, introduced me to the complex world of early reproduction technology; I gratefully acknowledge their assistance. I also thank Nathan Gluck of the American Institute of Graphic Arts for sharing both archival materials and his wealth of knowledge about the institute’s history and Myrna Davis of the Art Directors Club for providing me with material on the association’s origins. Judy Metro, Yale University Press, its readers, and Laura Jones Dooley, in her thoughtful editing, greatly improved my manuscript.
I thank my parents, Miriam Becker Mazur and Abraham Mazur, for their support and enthusiasm for my work despite its distance from their own fields of interest, and my sons, Josh and Jack, for their good-humored tolerance. My deepest appreciation goes to my husband, Jamie Thomson, who carefully read through many incarnations and drafts and was unstinting in his encouragement. His pointed and good-humored criticism has kept me focused and seen me through.
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