Acknowledgments

Lincoln, Evelyn

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Acknowledgments

Evelyn Lincoln

The Invention of the Italian Renaissance Printmaker

Acknowledgments

Author

Evelyn Lincoln

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00148.002

Stable URL: https://aaeportal.com/?id=-16731

Acknowledgments

Research for the dissertation that formed the first draft of this book was supported by generous grants from the Graphic Arts Council of San Francisco, the University of California at Berkeley, the Mellon Foundation, and the Fulbright Commission. The second campaign of writing was supported by Brown University, The American Council for Learned Societies, the National Endowment for the Humanities, and the Bunting Institute of Radcliffe College.

In Mantua I worked at the Biblioteca Communale, the Accademia Virgiliana, and the Archivio di Stato di Mantova, where Dttssa Francesca Fantini d’Onofrio was extraordinarily helpful in making the Mantuan archive accessible to me and kindly corrected my transcriptions of several documents; I also worked at the Raccolta Bertarelli in Milan. In Rome I worked at the Biblioteca Apostolica Vaticana, Archivio Segreto Vaticano, Gabinetto Nazionale delle Stampe, Biblioteca Angelica, Biblioteca Alessandrina, Biblioteca Casanatense, Archivio Capitolino, Archivio Vicariato, Archivio San Luca, Archivio dei Virtuosi al Pantheon, and Archivio di Stato. Dr. Arch. Armando Schiavo kindly made material available to me from the Archivio dei Virtuosi al Pantheon. Giulia Adorno, the late Franca Trinchieri Camiz, Massimo Ceresa, Luciano Cipriani, Francesca Consagra, and Anna Modigliani were all very generous in explaining points about Roman archives and early printing.

In the United States I worked mostly at the Bancroft Library and Doe Library at the University of California, Berkeley; the John Carter Brown Library and the John Hay Library at Brown University, and the libraries at Harvard University. In San Francisco Robert Johnson and Karin Breuer at the Achenbach Foundation for Graphic Arts supported my study of prints in many ways. I am grateful for the help I received from the staffs of the Print and Photograph Study Room at the Library of Congress in Washington, DC, the drawing room at the Morgan Library, and the Print study room at the British Museum. Suzanne Boorsch at the Metropolitan Museum of Art not only made many prints available for me to see, but also gave me the benefit of her critical eye and many hours of productive conversation.

The pictures for this book came together due to the generosity of the curators and librarians at all the institutions mentioned in the photo credits, but I would especially like to thank the following, who were not only helpful but also cheerful and kind: Lucia Monaci at the Uffizi printroom, Sonia Giaccoponi at the Biblioteca Angelica, Giorgio Marini at the Biblioteca e Raccolta Grafica di Museo di Castelvecchio in Verona, Reid Masselink at David Tunick Inc., Roberta Waddell at the New York Public Library, Jean Rainwater at the John Hay Library, and especially Sue Reed at the Museum of Fine Arts, Boston.

Agathe Bennich, Tron Bykle, Whitney Chadwick, Elizabeth Cohen, Paula Findlen, Robin Greeley, Richard Lincoln, Laurie Nussdorfer, Dina Redman, Amy Remensnyder, Rose Marie San Juan, Gretchen Schultz, Jennifer Shaw, and Brian Shure have all read and discussed parts of this work with me at different stages and offered comments that materially changed this project. My departmental colleagues at Brown, particularly Maggie Bickford, Sheila Bonde, Dian Kriz, and Dietrich Neumann, have made the idea of collegiality very real by taking time to read, listen to, and comment on parts of this work, and to offer good advice on all kinds of relevant issues. Discussions with Clifford Ackley, Kathan Brown, Daniel Brownstein, Sonia Evers, Anne Fleche, Elizabeth King, Barbara Sparti, and James Wright have also helped me to consider many of the ideas I take up here from different perspectives. Suzanne Boorsch, Allan Jones, Roger Keyes, R. E. Lewis, and Joan London Wright have been my guides in the history and techniques of printing and publishing, and have been part of a long process of thinking about and looking at prints. Brian Shure has been my partner in printing, teaching, and all the other things that are most important to me and there is a lot of him in this book, which he read carefully and with real insight and interest when that kind of attention was very much needed.

Gillian Malpass and Elizabeth McWilliams at Yale University Press have guided me through the complexities of publishing a book with calm and confidence, and Delia Gaze provided excellent editorial suggestions. But none of this would have happened at all without the teaching and support of Michael Baxandall, Loren Partridge, Svetlana Alpers, and Randolph Starn.

Chapter one, “Andrea Mantegna,” is an expanded version of “Mantegna’s Culture of Line,” which appeared in Art History 16 (1993): 33–59. A different version of Chapter three, “Diana Mantuana,” appeared as “Making a Good Impression. Diana Mantuana’s Roman Printmaking Career,” in Renaissance Quarterly 50 (Winter 1997): 1101–47.

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