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Acknowledgments
Kenneth E. Silver
Description: Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War,...
Esprit de Corps: The Art of the Parisian Avant-Garde and the First World War, 1914–1925
I AM INDEBTED to many people and numerous institutions for the realization of this book, which has been a long time in the making. I want to thank, first of all, the National Endowment for the Humanities, which provided me with funds for travel, research, and writing. In Paris, I am indebted to the staff of the Musée d’Histoire Contemporain...
Author
Kenneth E. Silver
PublisherPrinceton University Press
Copyright© 1989 by Kenneth E. Silver
Stable URL: https://aaeportal.com/?id=-32213
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Acknowledgments
I am indebted to many people and numerous institutions for the realization of this book, which has been a long time in the making. I want to thank, first of all, the National Endowment for the Humanities, which provided me with funds for travel, research, and writing. In Paris, I am indebted to the staff of the Musée d’Histoire Contemporain (formerly the Musée des Deux Guerres), at the Hôtel National des Invalides, particularly to the curator, Cécile Coutin, and to Laure Barbizet, my good friend. I want to also thank Hélène Seckel and Marie-Laure Bernadac of the Musée Picasso. Jacques Thuillier of the Collège de France helped me over a number of administrative hurdles, for which I am grateful. Monique Manoury-Schneider provided access to the materials in the Robert Delaunay estate and introduced me to Sonia Delaunay. Françoise Mare-Vène was always generous with the materials of her father, André Mare, and she has been a warm friend as well. I am only sorry that my dear friend, the late Jean Guéry, whose love for France and knowledge of his country were of inestimable value to me, will not read this book.
In the United States I want to thank numerous friends and colleagues as well. Susan Ball, Romy Golan, Billy Klüver, and Julie Martin, and Pamela Sharpless Richter, the Fine Arts Librarian at Washington Square College, all provided me with valuable information. I am especially grateful to Yona Zeldis McDonough, my former student, who has helped with the arduous task of collecting illustrations and has been a loyal friend and a supporter of this book for so long. Paul Tucker and Sarah Brett-Smith, who were there at the start of this project, provided the intellectual challenge and moral support so necessary for any extended research. Michael Marrinan and Mary McLeod both read early versions of this manuscript and their suggestions and criticisms have, I hope, enormously improved it. Zack Karantonis encouraged and assisted me in more ways than I can enumerate, and I thank him for having helped to make this book a reality.
This project began when I was a graduate student at Yale and I want to thank there both Anne Coffin Hanson and Vincent Scully for their advice and guidance. Most of all I am indebted to Robert L. Herbert, who showed me a history of art that looks as new and vital to me now as it did in New Haven thirteen years ago.
New York
April 1986
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