Acknowledgments

Locker, Jesse M.

Save Cite Share

Free

Acknowledgments

Jesse M. Locker

Artemisia Gentileschi: The Language of Painting

~It is the guiding premise of this book that Artemisia Gentileschi’s work, even if created in solitude, gained a new fluency and sophistication through dialogue with her contemporaries. Likewise, my own work never would have come to fruition without the ideas, support, and interest of scholars, collectors, colleagues, and friends all over the world.

Author

Jesse M. Locker

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-19920

Acknowledgments

It is the guiding premise of this book that Artemisia Gentileschi’s work, even if created in solitude, gained a new fluency and sophistication through dialogue with her contemporaries. Likewise, my own work never would have come to fruition without the ideas, support, and interest of scholars, collectors, colleagues, and friends all over the world.

I owe a special debt of gratitude to Judith Mann of the Saint Louis Art Museum and to Keith Christiansen of the Metropolitan Museum of Art, who both, over the many years I have spent on this project, have been extraordinarily generous with their input, advice, and willingness to field frequent, and out-of-the-blue, questions. I am also grateful to my graduate advisors from Johns Hopkins University, where this project had its beginnings. Charles Dempsey’s support and profound knowledge of seventeenth-century art, literature, and culture have left their indelible mark on my work. I am also grateful to Elizabeth Cropper, whose seminar “Caravaggio/Gentileschi” first sparked my interest in Artemisia. I owe a special thanks to Michael Fried, whose generosity and support made completion of this project possible (and whose ideas have always challenged me to think more deeply about the issues at hand). I am also grateful to Richard Kagan, who originally suggested that I make the Neapolitan court a focus of my research and whose expertise substantially enriched my first chapter in particular. Thanks as well to Stephen Campbell for his insight and guidance over the years. Tom Willette has consistently and tirelessly offered thoughtful input and advice.

This book was greatly enriched by the generous support of a Francis Haskell Memorial Fund Research Grant from the Burlington Magazine Foundation and a Chester Dale Postdoctoral Research Fellowship from the Metropolitan Museum of Art. I also owe thanks for the Newberry Library Weiss/Brown Publication Subvention Award and the College Art Association Meiss/Mellon Author’s Book Award, which significantly helped underwrite publication costs.

I also wish to thank the many other scholars, friends, and colleagues who have helped or have graciously answered unsolicited queries (many of whom I have undoubtedly overlooked): Bernard Aikema, Luciano Arcangeli, Babette Bohn, Christian Büschges, Patrizia Cavazzini, Edward Chaney, Tom Cohen, Jeffrey Collins, Paul Crenshaw, Suzanne Cusick, Federica Dallasta, Vittorio and Isabella Ducrot, Mary Garrard, Edward Goldberg, Wendy Heller, Alexandra Lapierre, Riccardo Lattuada, Estelle Lingo, Maria Loh, Francesca Marciano, Christopher Marshall, Alessandra Masu, Patrice Mattia, Adelina Modesti, Nick Napoli, Catherine Puglisi, Shilpa Prasad, Richard Spear, Walter Stephens, Eve Straussman-Pflanzer, Eva Struhal, Margherita d’Ayala Valva, and Louis Waldman. I also wish to thank Jordan Hallmark for his assistance with permissions and Mary McVein, Visual Resources Curator at Portland State University, for help with images. I am particularly grateful to Katherine Boller of Yale University Press for her long-suffering patience in bringing this project to fruition.

Finally, I wish to dedicate this book to my children, Sophie and Gabriel, who—although it may be many years before they are able to read it—provided inspiration for, and many welcome distractions from, my work, and to Carmen, la meva musa, companya, i editora.

Previous chapter

Base text size -

Chapter images ()