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Description: Facture: Conservation Science Art History Volume 4: Series, Multiples, Replicas
Acknowledgments
PublisherNational Gallery of Art
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Acknowledgments
The publication of volume 4 of Facture depended on collaborations with and contributions from many individuals. To all, we express our gratitude.
At the National Gallery of Art, very special thanks go to Mervin Richard, chief of conservation, for his continued support in making this publication possible. We are also indebted to our colleagues in the conservation division, including Barbara Berrie, John Delaney, Marian Dirda, Kate Dooley, Michelle Facini, Lisha Glinsman, Bethann Heinbaugh, Ann Hoenigswald (retired), Doug Lachance, Michael Palmer (retired), Kimberly Schenck, Michelle Stein, and Shelley Sturman. Emily Conforto kindly helped with administrative tasks. Valuable curatorial insight was provided by Judith Brodie, David Alan Brown, Harry Cooper, C. D. Dickerson, Diana Greenwald, Gretchen Hirschauer, Amy Johnston, Kimberly Jones, Alison Luchs, and Charlie Ritchie. Elizabeth Cropper, Peter Lukehart, and Therese O’Malley from the Center for Advanced Study in the Visual Arts generously shared their expertise, as did Ricardo Blanc, Lorene Emerson, Lee Ewing, Alan Newman, Greg Williams, and Barbara Wood in the department of imaging and visual services, who captured and processed images and obtained permissions.
Many generous individuals reviewed the essays and provided vital support. In the United States, we would like to thank Mark Pascale, Art Institute of Chicago; Oliver Shell, Baltimore Museum of Art; Laura Hartman and Nicole Myers, Dallas Museum of Art; Sidney B. Felsen, Joni Moisant Weyl, Daniel B. Freeman, Serge Lozingot, Ronald McPherson, Jim Webb, and Tony Zepeda, Gemini G.E.L., Los Angeles; Jane Basset, J. Paul Getty Museum; Carol Mancusi-Ungaro (formerly), Center for the Technical Study of Modern Art, Harvard Art Museums, Cambridge; Jennifer L. Roberts, Harvard University, Cambridge; Wendy Partridge, ICA-Art Conservation, Cleveland, Ohio; Charlotte Hale, Metropolitan Museum of Art; David Bomford, Museum of Fine Arts, Houston; Jodi Hauptman, Chris McGlinchey, Karl Buchberg (retired), and Lynda Zycherman, Museum of Modern Art, New York; Francesca Calderone-Steichen, granddaughter of Edward Steichen, New Jersey; Pamela Barr, independent editor, New York; Judith Eisenberg, conservator in private practice, New York; Jill Sterrett, San Francisco Museum of Modern Art; Caitlyn P. Frank, Sotheby’s; Samantha Li, Cantor Center for the Visual Arts, Stanford University; Kelley Di Dio, University of Vermont; Elissa O’Loughlin (retired), Walters Art Museum; and Keara Teeter, Winterthur, University of Delaware.
We are also grateful to many international colleagues: Cristina Rodeschini and Giovanni Valagussa, Accademia Carrara, Bergamo; Valentina Locatelli, independent curator, Berne; Scott Nethersole, Courtauld Institute of Art, London; Sophie Webel, Fondation Dubuffet, Paris; Boudewijn Goossens, Gaasbeek Castle, Belgium; Ladislaus E. Batthyány-Strattmann and Alexandra Kopitar, Güssing Castle, Austria; Fritz Fischer, Konrad Schlegel, and Helene Hanzer, Kunsthistorisches Museum, Vienna; Robert Wald, Lichtenstein–The Princely Collections; Maurizio Arfaioli, Alessio Assonitis, Sheila Barker, Victoria Bartels, Daria Foner, and Julie James, Medici Archive Project, Florence; Elena Arias Riera, Museo del Prado, Madrid; Nicholas Penny (retired) and Alexander Röstel, National Gallery, London; Jaklyn Babington, National Gallery of Australia, Canberra; Roberto Buda, Relart di Roberto Buda, Florence; Arie Pappot and Robert van Langh, Rijksmuseum, Amsterdam; Sophy Wills, Sally Goodsir, and Jonathan Marsden, Royal Collection Trust; Claudia Kryza-Gersch, Staatliche Kunstsammlungen Dresden; Neville Rowley, Staatliche Museen zu Berlin; Carlotta Beccaria, Studio Di Restauro, Milan; Jonathan Nelson, Syracuse University, Florence; Belinda Thomson, Honorary Fellow, University of Edinburgh; Peter Humfrey, University of St. Andrews; Heleen van Driel, Maurice Tromp, and Teio Meedendorp, Van Gogh Museum; and Michelle O’Malley, The Warburg Institute, London.
The continued success of this biennial journal depends on unwavering commitment by additional colleagues at the National Gallery to whom we are profoundly appreciative. The members of the editorial board put in long hours to ensure the success of the volume. Mira Patel deserves a huge thanks for her hard work organizing essays and images, as well as for streamlining and delineating procedures. In the National Gallery’s publication office, Emiko Usui, Tam Bryfogle, Lisa Shea, and the freelance editor Ann Hofstra Grogg ensured expert editing. Chris Vogel and Wendy Schleicher added valuable insight to Brad Ireland’s beautiful design, and John Long gave expert production support.
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