Acknowledgments

Brownlee, Peter John

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Acknowledgments

Peter John Brownlee (Editor)

Samuel F. B. Morse’s Gallery of the Louvre and the Art of Invention

~THIS PROJECT BEGAN in earnest with the extensive conservation treatment of Gallery of the Louvre undertaken by Lance Mayer and Gay Myers beginning in late 2010. Over the course of the treatment, we spent many hours together, examining Morse’s canvas and conducting interviews for a video documentary of the painting and its conservation produced for...

Author

Peter John Brownlee (Editor)

PublisherTerra Foundation for American Art

Stable URL: https://aaeportal.com/?id=-20690

Acknowledgments

This project began in earnest with the extensive conservation treatment of Gallery of the Louvre undertaken by Lance Mayer and Gay Myers beginning in late 2010. Over the course of the treatment, we spent many hours together, examining Morse’s canvas and conducting interviews for a video documentary of the painting and its conservation produced for the Terra Foundation by Sandpail Productions. Thanks also go to the other interviewees: Paul Staiti, Henry de Phillips, and at the Musée du Louvre, Vincent Delieuvin, Jean Habert, Guillaume Kientz, and Stephane Loire. Research in the Samuel F. B. Morse Papers at the National Academy of Design was facilitated by Bruce Weber and Diana Thompson. Conversations with Paul Staiti, Sarah Cash, Annie Storr, and Lisa Gitelman prodded our thinking along the way.

The contents of this book were developed and honed over a series of study days and symposia held at the Yale University Art Gallery (April 2011), the National Gallery of Art (April 2012), and the Pennsylvania Academy of the Fine Arts (April 2013). Our sincere thanks go to everyone at those institutions who helped to realize the special installation of the exhibition, A New Look: Samuel F. B. Morse’s “Gallery of the Louvre,” and all its attendant programs and publications.

At the Yale University Art Gallery, special thanks go to Helen A. Cooper, Keely Orgeman, Patricia Garland, Kate Ezra, Elizabeth Harnett, Adrienne Webb, and Janet Miller, as well as to those who participated in a study day held on April 1, 2011: Patricia Johnston, Laurence Kantor, Edward Larkin, Lance Mayer and Gay Myers, Alexander Nemerov, Jules D. Prown, Catherine Roach, and Paul Staiti.

At the National Gallery of Art, we thank Nancy Anderson, Charles Brock, Franklin Kelly, D. Dodge Thompson, Mark Leithauser, Patricia Donovan, Lynn Russell, Susan Arensberg, Faya Causey, Alison Peil, and Ben Masri-Cohen, as well as those who participated in a study day and public symposium held on April 20–21, 2012: Jean-Philippe Antoine, David Bjelajac, Lance Mayer and Gay Myers, Andrew McClellan, Olivier Meslay, Alexander Nemerov, Richard Read, and Catherine Roach.

At the Pennsylvania Academy of the Fine Arts, we are grateful to Robert Cozzolino, Anna O. Marley, Monica Zimmerman, and Gale Rawson, as well as to those who participated in a study day held on April 20, 2013: Wendy Bellion, Rachael Z. DeLue, Sarah Kate Gillespie, Michael Leja, Elaine Reichek, Tanya Sheehan, and Jennifer Zwilling.

A number of individuals at the Terra Foundation played important roles throughout: Elizabeth Glassman, President and Chief Executive Officer; Elizabeth Hutton Turner, former Vice President of Collections and Curatorial Affairs; Amy Zinck, Vice President; Donald H. Ratner, Executive Vice President and Chief Financial Officer; Cathy Ricciardelli, Registrar; Katherine Bourguignon, Associate Curator; Alissa Schapiro, Collection Associate; Shari Felty, Collection Assistant; Bonnie Rimer, Consulting Conservator; Francesca Rose, Program Director, Publications; Veerle Thielemans, European Academic Program Director; Carrie Haslett, Program Director, Exhibition and Academic Grants; Jennifer Siegenthaler, Program Director, Education Grants and Initiatives; Sara Jatcko, Program Associate, Education Grants and Initiatives; Amy Gunderson, Grants Manager; and Charles Mutscheller, Manager of Communications. Special thanks are due to Elizabeth Kennedy, the Terra Foundation’s former Curator, for her research on Gallery of the Louvre stemming from the exhibition American Artists at the Louvre (2006), which returned Morse’s painting to the Musée du Louvre for the first time since its creation. Special thanks also go to Elizabeth Hutton Turner, who was instrumental in catalyzing the book’s production and initiating the painting’s national tour. The work of former Terra interns and research assistants Bree Lehman, Annelise K. Madsen, Eleanore Neumann, and Naomi Slipp was critical at various stages of the project. Thanks go to Michael Tropea for post-conservation photography of the painting. We also would like to thank the San Diego Museum of Art and Amy Galpin for permission to reprint, in slightly modified form, Alexander Nemerov’s essay, “The Forest of the Old Masters: The Chiaroscuro of American Places,” originally published in Behold, America! Art of the United States from Three San Diego Museums, edited by Amy Galpin (San Diego: Museum of Contemporary Art San Diego, The San Diego Museum of Art, Timken Museum of Art, 2012), 96–114.

Finally, in compiling and preparing the manuscript for publication, thanks go to editor Nancy Grubb as well as to the anonymous readers, whose comments and suggestions helped to tighten the prose and the cohesiveness of the volume’s contents. Thanks, too, to Emily D. Shapiro for her editorial advice and to our colleagues at Marquand Books, especially Ed Marquand, Adrian Lucia, Jeff Wincapaw, Gina Glascock-Broze, Susan E. Kelly, and Melissa Duffes.

PETER JOHN BROWNLEE
Associate Curator
Terra Foundation for American Art

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