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Description: Facture: Conservation Science Art History Volume 3: Degas
Our aim in devoting volume 3 to Edgar Degas was to consider the great artist from a technical perspective in many media...
PublisherNational Gallery of Art
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Our aim in devoting volume 3 to Edgar Degas was to consider the great artist from a technical perspective in many media. In this collaborative process, we relied on the generosity of many colleagues to whom we are extremely grateful.
At the National Gallery of Art we are indebted to Mervin Richard, chief of conservation, for his continued support that ensures the sustained publication of Facture. Other conservation colleagues kindly shared their expertise: Marian Dirda, Melanie Gifford, Lisha Glinsman, Doug Lachance, Katy May, Kathryn Morales, Michelle Stein, and Josephine Werthmann. Michelle LeBleu and Michael Skalka skillfully managed administrative duties. For vital curatorial insights we thank Jonathan Bober, Judith Brodie, C. D. Dickerson, Margaret Morgan Grasselli, Gregory Jecmen, Carlotta Owens, Peter Parshall (retired), and Charles Ritchie. Yuri Long, Jacqueline Protka, and Anne Halpern provided essential reference material. In the department of imaging and visual services, thanks go to Ricardo Blanc, Lorene Emerson, Lee Ewing, Alan Newman, Greg Williams, and Barbara Wood for crucial services in capturing and processing images and obtaining permissions.
Sustaining an institutional publication depends on the commitment and hard work of many additional colleagues at the National Gallery of Art. To all, our profound appreciation. Members of the editorial board ensured the success of the volume. Mira Patel deserves special thanks for good-naturedly keeping all the moving parts organized. In the National Gallery’s publishing office, Judy Metro, Tam Bryfogle, and freelance editor Ann Hofstra Grogg provided expert editing. Chris Vogel and Wendy Schleicher contributed editorial insight to Brad Ireland’s impressive design, while John Long contributed exceptional production support.
Many individuals in the United States and Europe also provided valuable support. In the United States we would like to thank Harriet Stratis, Art Institute of Chicago; Christine Downie, Angela Elliott, Thomas Primeau (formerly), and Katy Rothkopf, Baltimore Museum of Art; Natalie Abrams, Bethesda, Maryland; Theodore Reff (retired), Columbia University, New York; Masha Belenky, George Washington University; Narayan Khandaher and Henry Lie (retired), Harvard University Art Museums, Cambridge; Susan Lake (formerly) and Gwynne Ryan, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; George Shackelford, Kimbell Art Museum, Fort Worth; Charlotte Hale, Marjorie Shelley, Susan Alyson Stein, and Ian Wardropper (formerly), the Metropolitan Museum of Art, New York; E. Keats Webb, Museum Conservation Institute, Smithsonian Institution, Washington, D.C.; Marietta Cambareri, Katie Hanson, Pamela Hatchfield, Irene Konefal, Rhona MacBeth, Annette Manick, Lydia Vagts, and Jean Woodward, Museum of Fine Arts, Boston; David Bomford, Museum of Fine Arts, Houston; Marc Rosen, New York; Sara Campbell (retired), Jacqui Chambers, and Carol Togneri, Norton Simon Museum, Pasadena; Richard Kendall, Nyack, New York; Andrew Lins (retired), Ashley McKeown, Sally Malenka, Melissa Mieghan, and Jennifer Thompson, Philadelphia Museum of Art; Toni Harris, Potomac, Maryland; Raina Chao, Jeanette Fausz, Simon Kelly, and L. H. (Hugh) Shockey Jr., Saint Louis Art Museum; Mattie Kelly, Kathleen Morris, and Richard Rand (formerly), Sterling and Francine Clark Art Institute, Williamstown, Massachusetts; Lawrence Nichols, Toledo Museum of Art; June Hargrove, University of Maryland, College Park; Suzanne Glover Lindsay, University of Pennsylvania, Philadelphia; Patricia Failing (retired), University of Washington, Seattle; and Kristie Couser, Mitchell Merling, and Sheila Payaqui, Virginia Museum of Fine Arts, Richmond.
We are also grateful to many European colleagues: Silvia Rita Amata and Alexandra Gerstein, Courtauld Gallery, London; Anne Pingeot (retired), Musée d’Orsay, Paris; Flemming Friborg and Line Clausen Pedersen, Ny Carlsberg Glyptotek, Copenhagen; Ann Dumas, Royal Academy of Arts, London; Laura Davies and Melanie Rolfe, Tate, London; Tonny Beentjes, University of Amsterdam; and Richard Hobbs, University of Bristol, England.
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