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Acknowledgments
Wayne Franits
Description: Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution
Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution
Acknowledgments
Author
Wayne Franits
PublisherYale University Press
Copyright© 2004 by Wayne Franits
https://doi.org/10.37862/aaeportal.00040.002
Stable URL: https://aaeportal.com/?id=-16748
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Acknowledgments
The book before you involved the efforts of many people besides those of its author. First and foremost, thanks are owed to Gillian Malpass and her able staff at Yale University Press’s London office for their unwavering commitment to this endeavor from its very beginning through its publication. Many other colleagues and friends made contributions of varying sorts, some graciously reading earlier versions of the text, others answering niggling and at times, much to my embarrassment, seemingly simplistic questions concerning Dutch art and culture. Still others provided invaluable assistance in the formidable task of procuring photographs. For this reason, I must acknowledge the following persons (while simultaneously apologizing to those who have been inadvertently omitted here): an anonymous reader, Ronni Baer, Margaret Binns, Ben Bregman, Marten Jan Bok, Celeste Brusati, Jeffrey S. Carnes, Joop van Coevorden, Alan Chong, Rudolf Dekker, Laurinda Dixon, Thomas Döring, Linnéa and Aidan Franits (for their forbearance), Elise Goodman, Emilie Gordenker, Claus Kemmer, Alison Kettering, George Keyes, Jennifer Kilian, Katy Kist, Florence Koorn, Jan Kosten, Walter Liedtke, Frank Macomber, Ekkehard Mai, Stephen Meyer, John Michael Montias, Mireille Mosler, H. Rodney Nevitt, Nadine Orenstein, Gary Radke, Beatrice Rehl, Herman Roodenburg, Eddy Schavemaker, the late Leonard J. Slatkes, Seymour Slive, Eric Jan Sluijter, Eileen Strempel, Peter C. Sutton, Rebecca Tucker, Amanda Winkler, Amy S. Wyngaard, Dennis Weller, Mariët Westermann, Herbert H. Westphalen III, Arthur K. Wheelock, Jr., and Marjorie E. Wieseman.
A great debt is likewise owed to the following art dealers who showed great kindness in permitting me to reproduce photos from their collections and in intervening on my behalf with clients whose pictures appear in the text: Richard Green, Johnny van Haeften, John and Willem Jan Hoogsteder, Jack Kilgore, David Koetser, Otto Naumann, Robert Noortman, and Henry V. Zimet. The auction houses of Christie’s and Sotheby’s also deserve thanks. Despite the kindness shown by these individuals and institutions, the potential expenditure for illustrating so many images in this book remained downright frightening. Thankfully, funds provided by Dean Cathryn R. Newton of the College of Arts and Sciences of Syracuse University, Bennie R. Ware, the Vice-President for Research and Computing at Syracuse University, and especially the William C. Fleming Educational Trust Fund helped offset these costs.
Dean Newton was also instrumental in encouraging me to take a much-needed sabbatical during the academic year 2001–2 to write the text. And, in this regard, the staff and collections of the following libraries and institutions were indispensible to my completing it: The British Library, E. S. Bird Library at Syracuse University, Koninklijke Bibliotheek, New York Public Library, Rijsbureau voor Kunsthistorische Documentatie, Rijksprentenkabinett, University of Amsterdam, University of Utrecht, and the Witt Library of the Courtauld Institute of Art.
Lastly, this book is affectionately dedicated to Egbert Haverkamp-Begemann, in honor of his eightieth birthday.
Syracuse, N.Y.
December, 2002
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