Acknowledgments

Byrd, Dana E.; Goodyear III, Frank H.

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Acknowledgments

Dana E. Byrd, Frank H. Goodyear III

Winslow Homer and the Camera: Photography and the Art of Painting

~This project has benefited greatly from exchanges with scholars and students at Bowdoin College and beyond. In particular, we want to acknowledge Elizabeth Athens, Susan Danly, Linda Docherty, Kathleen Foster, Abigail Booth Gerdts, Eleanor Harvey, Mike Kolster, Rodney Laughton, Philip Von Stade, and John Wilmerding. Also, Catherine Cyr ’17, a summer intern at...

Author

Dana E. Byrd, Frank H. Goodyear III

PublisherBowdoin College Museum of Art

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20746

Acknowledgments

This project has benefited greatly from exchanges with scholars and students at Bowdoin College and beyond. In particular, we want to acknowledge Elizabeth Athens, Susan Danly, Linda Docherty, Kathleen Foster, Abigail Booth Gerdts, Eleanor Harvey, Mike Kolster, Rodney Laughton, Philip Von Stade, and John Wilmerding. Also, Catherine Cyr ’17, a summer intern at the Museum in 2015, provided invaluable research assistance at a critical moment. Students enrolled in the spring 2016 art history course “Winslow Homer and American Art” pushed this project along through their probing questions and insightful analyses regarding Homer’s art and legacy. A two-day symposium at Bowdoin in 2016, co-sponsored by the Department of Art History and the office of the Dean for Academic Affairs and entitled “Across the Divide: Intermediality and American Art,” was especially enriching, and we are thankful for the presentations and conversations on that occasion with others who are exploring the historical exchange between different artistic mediums.

We are pleased to be able to travel this exhibition after its presentation in Brunswick to the Brandywine River Museum of Art in Chadds Ford, Pennsylvania. Our thanks to Thomas Padon, the James H. Duff Director, for his enthusiastic support of this project.

For assistance in the development of this catalogue, we are grateful to the editorial staff of Yale University Press. To Amy Canonico, Mary Mayer, Raychel Rapazza, and Kate Zanzucchi, as well as to freelance copyeditor Jane Friedman, proofreader Maddy Kloss, and indexer Cathy Dorsey, thank you for the care you have shown in guiding this volume to publication. Also, our appreciation to Laura Lindgren, who created the catalogue’s design.

Closer to home, we thank numerous colleagues at the Bowdoin College Museum of Art, including John Eric Anderson, Caroline Baljon, Rebekah Beaulieu, Suzanne Bergeron, Anne Collins Goodyear, Michelle Henning, Jo Hluska, Joachim Homann, Laura Latman, Liza Nelson, Steve Perkins, José Ribas, Ellen Tani, and Honor Wilkinson. At Bowdoin College, our thanks to Michael Archibald, Allison Cross-cup, Scott Meiklejohn, Ann Ostwald, Heidi Peterson, and Jennifer Scanlon. As always, we thank Dean for Academic Affairs Elizabeth McCormack and President Clayton Rose.

While nearly two-thirds of the works in the exhibition derive from the Museum’s collection, twenty-five institutions and private collectors have generously lent works that have added complexity and nuance to this presentation. In particular, we want to acknowledge our colleagues at other institutions, including Judith Dolkart, Susan Faxon, and Alison Kemmerer, Addison Gallery of American Art; Anne Pasternak and Kimberly Orcutt, Brooklyn Museum; Sharon Corwin and Elizabeth Finch, Colby College Museum of Art; Jonathan Walz, The Columbus Museum; Caroline Baumann and Caitlin Condell, Cooper-Hewitt National Design Museum, Smithsonian Institution; Chris Brownawell and Michael Komanecky, Farnsworth Art Museum; Joanne Bloom, Fine Art Library, Harvard College Library; Tim Burgard, Fine Arts Museums of San Francisco; Martha Tedeschi and Ethan Lasser, Harvard Art Museums; David Little, Mead Art Museum, Amherst College; Jonathan Binstock, Memorial Art Gallery, University of Rochester; Stacy Cerullo, New Britain Museum of American Art; Lawrence Wheeler and John Coffey, North Carolina Museum of Art; Chris Kintzel, Peabody Art Collection, Maryland; Mark Bessire and Jessica May, Portland Museum of Art; Janie Cohen and Andrea Rosen, Robert Hull Fleming Museum, University of Vermont; Jessica Nicoll and Linda Muehlig, Smith College Museum of Art; Stephanie Stebich and Eleanor Harvey, Smithsonian American Art Museum; Olivier Meslay, Sterling and Francine Clark Art Institute; Franz Jantzen and Maya Foo, Supreme Court of the United States; Elizabeth Glassman and Peter Brownlee, Terra Foundation for the Arts; Thomas Loughman and Linda Roth, Wadsworth Atheneum; Brad and Ann Willauer; Matthias Waschek and Elizabeth Athens, Worcester Art Museum; and Jock Reynolds and Pamela Franks, Yale University Art Gallery.

Financial support from many individuals, foundations, and Museum of Art endowments have made possible this exhibition and its catalogue. Major support is provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Elizabeth B. G. Hamlin Fund, the Stevens L. Frost Endowment Fund, the Becker Fund for the Bowdoin College Museum of Art, Peter J. Grua ’76 and Mary G. O’Connell ’76, the Devonwood Foundation, Robert Freson, and the Wyeth Foundation for American Art. Additional support has been provided by the Morton-Kelly Charitable Trust, Selina Little, Charles and Elizabeth Cabot Lyman, Judy Glickman Lauder, Steven P. Marrow ’83 and Dianne A. Pappas P’21, Lee Sprague, Lile R. and John A. Gibbons, Jr. ’64, the Karl R. Philbrick Art Museum Fund, Betsy Evans Hunt, the Roy A. Hunt Foundation, and Patricia Brown. At the Brandywine River Museum of Art, the presenting sponsor is the Robert J. Kleberg, Jr. and Helen C. Kleberg Foundation.

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