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Description: Angelica Kauffman: Art and Sensibility
IN THE COURSE of researching and writing this book I have received extraordinarily generous support from many institutions and individuals...
PublisherPaul Mellon Centre
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In the course of researching and writing this book I have received extraordinarily generous support from many institutions and individuals. My initial research was made possible by grants from the King Edward VII British-German Foundation, awarded through the British Council, and the German Academic Exchange program. More recently, at Dartmouth College, a faculty fellowship and the invaluable Walter and Constance Burke Research Initiative Award have provided crucial support. The Paul Mellon Centre for Studies in British Art has supported this project from the start, and, at its completion, provided a substantial publication grant. This, together with a matching grant from the Dartmouth Dean of Faculty office, has helped defray the costs of obtaining and reproducing the photographs that appear in this book.
It is impossible to thank all of the institutions—museums, collections, archives, and libraries—whose stewardship of cultural documents has enabled me to pursue my research. I would, however, like to name a few places whose resources have been crucial to my project. In London: the National Portrait Gallery the Witt Library of the Courtauld Institute; the Victoria and Albert Museum; and the British Museum, especially the Department of Prints and Drawings. I would like to offer special thanks to the late Michael Kitson and to Brian Allen, Frank Salmon, Kim Sloan, and Clare Lloyd-Jacob at the Paul Mellon Centre in London, who offered their generous encouragement and advice. The Centre’s library, its photographic collection, and the Sir Brinsley Ford archives, as well as the collected newspaper cuttings of Royal Academy art exhibition reviews, were of fundamental importance to my work. In the United States, I would like to thank the Huntington Library in San Marino, California, and the Yale Center for British Art—its director, Amy Meyers, for her support, as well as Scott Wilcot and Gilliam Forrester for their aid in negotiating the Center’s collection of prints and drawings. In Bregenz, I profited from the collection and archive of the Vorarlberger Landesmuseum, where Helmut Swozilek offered generously of his time and expertise.
I am deeply grateful to those colleagues whose work on Angelica Kauffman over the past decades helped shape my own thinking. Oscar Sandner and Peter Walch, both pioneers in the modern study of Kauffman’s work, have (re)established her place within the international neoclassical movement. Bettina Baumgärtel’s exhibitions and publications have expanded our critical knowledge of Kauffman’s art. Her general catalogue of Kauffman’s work promises to offer an important resource for generations to come. I am also grateful to Gisela Kraut, who first discussed Kauffman with me, to David Alexander for his invaluable work on print culture, to Wendy Roworth for her passion and consistent exploration of Kauffman’s life and art, and to Waltraud Maierhofer, whose publication of Kauffman’s correspondence has proven to be a most valuable source.
I must also thank a number of individuals at Dartmouth who have contributed their time and skills to this project: my research assistants Sandra Müller and Amanda Potter, the former especially for her help with translation, and the latter for invaluable aid in securing reproduction rights for the illustrations; Betsy Alexander, the administrator of the Department of Art History, for her professional administrative help; Elizabeth O’Donnell, curator of visual resources, and especially Jan Smarsik, associate curator of visual resources, for their help with photography; and Laura Graveline, the art librarian, as well as her predecessor in that position, Barbara Reed.
My work has been enriched by the input of my colleagues in the Department of Art History and the Hood Museum of Art at Dartmouth College. I am grateful to Ada Cohen, Kathy Hart, Joy Kenseth, and Bart Thurber, for their incisive comments on this project, as well as to Jane Carroll, Mary Coffey, Kathleen Corrigan, David Getsy, Marlene Heck, Allen Hockley, Jim Jordan, Steven Kangas, and Bob McGrath, for helping to create a compassionate and inspiring environment in which to share one’s ideas. I am, moreover, most grateful to Lenore Grenoble, associate dean of the humanities, Provost Barry Scherr, and President Jim Wright and his wife Susan DeBevoise Wright, for their unflagging support of and enthusiasm for the arts and humanities at Dartmouth.
For their critical engagement and friendship, I also wish to thank my colleagues in the Department of Art History at Northwestern University, especially Hollis Clayson, Whitney Davis, Ikem Stanley Okoye, and Otto Karl Werckmeister. For her unfailing enthusiasm, kindness, and advice I especially thank Bernadette Fort of Northwestern, who, together with Sarah Maza, introduced me to the lively circle of the Chicago Area Eighteenth-Century Society.
I have profited from intellectual exchange and probing questions with friends and colleagues in Europe and the United States whose insightful comments have shaped this book more than they realize: Gerhard Ahrens, Julia Marciari Alexander, Malcolm Baker, Cristelle Baskins, Shelley Bennett, Ann Bermingham, Sarah Betzer, Cordula Bischoff, John Brewer, Norman Bryson, Walter Cahn, Deborah Cherry, Marzena Chodor, Joan Coutu, Sheila Crane, Jula Dech, Detlef Dörrbecker, John Gage, Norberto Gramaccini, Gabriele Grawe, Mark Hallett, Lubaina Himid, Michael Ann Holly, Spencer and Jean Hudson, Melissa Hyde, Yuriko Jackall, Géraldine Johnson, Christopher Jones, Ludmilla Jordanova, Gisela Kraut, K. Dian Kriz, Alistair Laing, David Mannings, Jennifer Milam, Caroline Murphy, Nicholas Penny, Alexander Perrig, Gill Perry, Marcia Pointon, Griselda Pollock, Jules Prown, Richard Rand, Amelia Rauser, Viktoria Schmidt-Linsenhoff, Mary Sheriff, David Solkin, Ellen Spickernagel, Maud Supter, Will Vaughan, Jonathan Weinberg, Richard Wendorf, Shearer West, Chris Wood, and Joanna Woodall. Special thanks are due to Andreas Haus and David Bindman, my Doktorväter, for encouraging me to undertake this project in the first place, and for supporting it generously all the way.
Among the many friends who have sustained and inspired me, I am especially grateful to Roland Augustin, Jonathan Crewe, Mary Desjardins, Andrew and Gene Garthwaite, Sabina Quijano, Brenda Silver, Tina Threuter, Heike Weber, Peter Wenz, Mark Williams, and Melissa Zeiger, as well as to Pierre Delarue, Mark Desmolier, Bernd Schlesack, and Katrin Schmidt for taking me parachuting when I needed to clear my head. Thanks and much more go to Agnes Lugo-Ortiz and Diane Miliotes for being exceptional friends and challenging interlocutors.
I have nothing but praise for the professional and charming Patricia Fidler at Yale University Press. I would also like to thank some of her colleagues: Michelle Komie for her patience; Dan Heaton for his accuracy and humor; John Long for his help with the photographs; and Leslie Fitch for the design of the book.
My parents, Anneliese and Peter Rosenthal, have always passionately encouraged my curiosity for culture. For their love, support, and enduring interest in my work I thank them profoundly. My grandmother Ursula Rosenthal and my sister Felicia Rosenthal have, in their own ways, sustained me. I would also like to thank the rest of my extended family, but especially Mechthild and Hermann Gabel, Hildegund and Herbert Roth, and Marie-José Randolph, Dominic and Kris Randolph.
No one has listened more patiently to my ideas than my partner and colleague, Adrian Randolph, whose tremendous encouragement and constant support have enabled me to write, to teach, and to live. It is to him that I dedicate this book.
Portions of this book derive from my earlier study Angelika Kauffmann: Bildnismalerei im 18. Jahrhundert (Berlin: Reimer, 1996). Parts of Chapter 1 appeared in Women, Art, and the Politics of Identity in Eighteenth-Century Europe, edited by Melissa Hyde and Jennifer Milam (Aldershot: Ashgate, 2003), and in Visuelle Repräsentanz und soziale Wirklichkeit: Bild, Geschlecht und Raum in der Kunstgeschichte (Festschrift für Ellen Spickernagel), edited by Christiane Keim, Ulla Merle, and Christina Threuter (Herbolzheim: Centaurus, 2001). A part of Chapter 2 was published in Portraiture: Facing the Subject, edited by Joanna Woodall (Manchester: Manchester University Press, 1997). And Chapter 7 draws on ideas aired in “Double-Writing in Painting: Strategien der Selbstdarstellung von Künstlerinnen im 18. Jahrhundert,” kritische berichte 22, no. 3 (1993), and “Angelica Kauffman Ma(s)king Claims,” Art History 15 (1992).
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