Acknowledgments

Kuenzli, Katherine M.

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Acknowledgments

Katherine M. Kuenzli

Henry van de Velde: Designing Modernism

Acknowledgments

Author

Katherine M. Kuenzli

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00063.002

Stable URL: https://aaeportal.com/?id=-19641

Acknowledgments

This book has received financial support from numerous institutions. An ACLS Fellowship from the American Council of Learned Societies supported a crucial phase of the writing, during which I benefitted from the hospitality of the Whitney Humanities Center at Yale University. Shorter periods of research and study were enabled by a Support Grant from the Canadian Centre for Architecture, a Library Research Grant from the Getty Research Institute, a Weimar Fellowship from the Klassik Stiftung, a Research Visit Grant from the Deutscher Akademischer Austauschdienst (DAAD, German Academic Exchange Service), and numerous grants from Wesleyan University. I am grateful to all these institutions for their assistance, which made this project possible.

This project has grown through the wise counsel and generosity of colleagues, who have commented on presentations, read drafts of manuscripts, and provided intellectual and moral encouragement. Kathleen James-Chakraborty has been a steadfast supporter, offering expert advice throughout, from the first project proposal up through the final manuscript. I am enormously thankful for her intellectual acumen, pragmatic counsel, and unflagging assistance. My colleagues at Wesleyan, especially Joseph Siry and Phillip Wagoner, have read portions of this project and have generously shared their time and expertise. I am grateful to Antje Neumann for her assistance; her publications, along with those of Völker Wahl, Léon Ploegaerts, and Thomas Föhl, have opened up important avenues of research. My book is also indebted to conversations with John Maciuika and Frederic J. Schwartz, who have shared their expertise on early twentieth-century German design.

Many of the ideas presented here first took form at invited talks and conference papers, and I am grateful to the following individuals and organizations for giving me an opportunity to present my nascent ideas: Nina Athanassoglou-Kallmyer at the College Art Association, Michelle Foa at the Nineteenth-Century Studies Association, John Maciuika at the New York Chapter of the Society of Architectural Historians, Michael White at the Henry Moore Institute, Julie Ramos and Maria Stavrinaki at the Institut national d’histoire de l’art, Carsten Ruhl at the Bauhaus University Weimar, and Nadja Aksamija, Clark Maines, and Phillip Wagoner at Wesleyan University. Discussions with these colleagues and other invited speakers greatly advanced this project.

I would also like to thank staff at the universities, libraries, archives, and museums who assisted me during many phases of my research. At Wesleyan, the staff of the interlibrary loan office, especially Katherine Wolfe, have done the miraculous in obtaining hard-to-find primary material. Susanne Javorski at Olin Library has provided expert assistance over the years. Susan Passman, Nara Giannella, and Esther Moran have provided outstanding support with images. At Yale’s Sterling Memorial Library, Michael Printy helped me track down hard-to-find sources. Farther afield, Birgit Schulte and Kornelia Kröber at the Osthaus Museum in Hagen, Germany enabled me to carry out archival work. Ulf Häder from the Keramik-Museum Bürgel kindly responded to all my inquiries. My work in Brussels was assisted by Régine Carpentier at the École nationale supérieure des arts visuels de La Cambre, by Françoise Aubry and Benjamin Zurstrassen at the Horta Museum, and by the staff of the Archives et Musée de la littérature.

Portions of three chapters of this book have previously been published in other forms. Chapter Two expands on my article, “The Birth of the Modernist Art Museum: The Folkwang as Gesamtkunstwerk,” Journal of the Society of Architectural Historians (December 2013). Chapter Three builds on my essay “Educating the Gesamtkunstwerk: Henry van de Velde and Art School Reform, 1900–14,” which appeared in The Death and Life of the Total Work of Art: Henry van de Velde and the Legacy of a Modern Concept, ed. Carsten Ruhl, Chris Dähne, and Rixt Hoekstra (Berlin: Jovis, 2015). Chapter Five develops material first presented in my article “Architecture, Individualism, and Nation: Henry van de Velde’s 1914 Werkbund Theater Building,” Art Bulletin (June 2012).

The staff at Yale University Press helped me transform a series of chapters into a unified book. Thanks go to my editor, Katherine Boller, for seeing the potential of this project and for her assistance in making it into a beautifully illustrated publication. Assistant managing editor Heidi Downey and copyeditor Alison Hagge did a masterful job tightening up the manuscript. I am also grateful to the two anonymous readers for their astute comments and suggestions. Members of the Henry van de Velde Foundation, especially Mathijs van Houweninge, Anneke Seley, and Thomas Schansman, provided essential support in enabling this publication to move forward.

My greatest gratitude goes to my parents, Ruedi and Cecile Kuenzli, to Michael Printy, my husband, and to our children, Oliver and Nora. I dedicate this book to my family, with my heartfelt thanks and love.

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