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Acknowledgments
Molly Nesbit
Description: Atget’s Seven Albums
Atget’s Seven Albums
This book owes much to the generosity of many. First of all, to Robert Herbert, who directed the thesis from which it began to take shape, and to Donald Crafton, Alan Trachtenberg, Eugenia Parry Janis, Joel Snyder, Adrian Rifkin, and Rosalind Krauss, who have read and criticized the argument at various stages. The first steps of my research benefited...
Author
Molly Nesbit
PublisherYale University Press
Copyright© 1992 by Yale University
Stable URL: https://aaeportal.com/?id=-32047
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Acknowledgments
This book owes much to the generosity of many. First of all, to Robert Herbert, who directed the thesis from which it began to take shape, and to Donald Crafton, Alan Trachtenberg, Eugenia Parry Janis, Joel Snyder, Adrian Rifkin, and Rosalind Krauss, who have read and criticized the argument at various stages. The first steps of my research benefited immeasurably from the advice and friendship of Maria Morris Hambourg; my work proceeds, even in its deviations, from the example set by hers. I am equally grateful for the generosity of the French community of curators and scholars of photography, especially to Bernard Marbot, Jean-Pierre Séguin, Michel Melot, Laure Beaumont-Maillet, and Jacqueline Sanson of the Bibliothèque Nationale, Françoise Reynaud of the Musée Carnavalet, Marie de Thézy of the Bibliothèque historique de la Ville de Paris, Françoise Heilbrun and Philippe Néagu of the Musée d’Orsay, Catherine Prade of the Musée Bricard, Renée Kariotakis of the Ecole Boulle, Roxanne Debuisson, André Jammes, Jean Leroy, Gérard Lévy, Harry Lunn, Alain Paviot, Alain Pougetoux, André Rouillé, and the late Hugues Texier and François Braunschweig. In London, Mark Haworth Booth and David Wright guided me through the archives of the Victoria and Albert Museum. Among the many others who have helped me to think more clearly about this material, I should like to thank Susanna Barrows, Marie Desmartin, Alain Faure, David Freedberg, Kevin Hubbard, Pepe Karmel, Andrew Lincoln, Elizabeth Anne McCauley, Michael Marrinan, Barbara Michaels, Annette Michelson, Michael Orwicz, Francesco Passanti, Christopher Phillips, Kenneth Silver, Nancy Troy, and Anne Wagner. The Department of Photography at the Museum of Modern Art, New York, especially John Szarkowski, Peter Galassi, Susan Kismaric, Sarah McNaer, and Catharine Evans, has showed me every hospitality.
Without the financial support of the Kress Foundation, the Georges Lurcy Foundation, the American Association of University Women, Barnard College, and particularly the J. Paul Getty Trust, whose generosity has made the complete publication of the albums possible, this book would never have seen the light of day. My thanks to them and to my editors at Yale University Press, whose patience and confidence in the project have been instrumental.
One last acknowledgment, and perhaps the most important one. Over the years, this study has been enriched and sharpened during long Parisian conversations with Leila Kinney and Adrian Rifkin. It now shows all the signs of intersection with their thinking as well as my general debt to them both, the kind of debt inadequately conveyed by references and impossible to reimburse.
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