Acknowledgments

Werbel, Amy

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Acknowledgments

Amy Werbel

Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia

Historians of American art, and those writing on Eakins in particular, are blessed by an exceptionally generous group of colleagues. Various friends and mentors including Elizabeth Milroy, W. Douglass Paschall, Darrel Sewell, Alexander Nemerov, and H. Barbara Weinberg all have provided me with a great example and sound advice through years of research. I am grateful for more specific assistance with this project from Jonathan Weinberg, whose wisdom and brilliant insights make him easily a …

Author

Amy Werbel

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00168.003

Stable URL: https://aaeportal.com/?id=-15020

Acknowledgments

Historians of American art, and those writing on Eakins in particular, are blessed by an exceptionally generous group of colleagues. Various friends and mentors including Elizabeth Milroy, W. Douglass Paschall, Darrel Sewell, Alexander Nemerov, and H. Barbara Weinberg all have provided me with a great example and sound advice through years of research. I am grateful for more specific assistance with this project from Jonathan Weinberg, whose wisdom and brilliant insights make him easily a historian’s best friend; Kathleen Adair Foster, the most generous and supportive scholar with whom I have ever worked; Marc Simpson, a diligent Eakins scholar and aid to those who write about the artist; Jules Prown, a most devoted adviser; Marta Braun, who reviewed my chapter on photography at a critical moment; and William Innes Homer, who graciously gave me a copy of Eakins’ letters that he curated over many years.

No historian accomplishes anything without the help of reference librarians, and I am extremely grateful to Kristen Hindes, Naomi King, and Michelle McCaffrey at St. Michael’s College, Jack Eckert at the Countway Library of Medicine at Harvard Medical School, F. Michael Angelo at the Thomas Jefferson University archives, Barbara Williams at the Drexel University College of Medicine archives, Angie Chapple-Sokol at the Dana Medical Library of the University of Vermont, and various staff over the years at the library of the College of Physicians of Philadelphia and other Philadelphia archives.

In researching this book, I spent a great deal of time buried in the stacks of the Harvard libraries that continue to inform and inspire me as they have for twenty-three years. I extend thanks to the enormous staff that maintains that collection, and also to the much smaller staff of the Irving House, my home away from home in Cambridge. Thanks also are due to Katherine Lane for her gracious hospitality and the opportunity to relive my student days in Somerville.

This project would not have been possible without the professional, collegial, and financial support of various administrators and colleagues at St. Michael’s College through the course of many years. Marc and Dana vanderHeyden, John Kenney, Susan Summerfield, Jan Sheeran, Elizabeth Inness Brown, William Wilson, and members of the faculty development council all have aided me enormously through their devotion to the support of scholarship. Gregg Blasdel and Will Mentor, understanding department members, have picked up my slack at times when this project overwhelmed other responsibilities. I am especially grateful to Lance Richbourg, who demonstrates the ideal of perfect loyalty as a friend and co-worker on a daily basis. Kelly McDonald, Madeleine Rabideau, and Jim Millard provided indispensable administrative support.

I have felt honored this past year to work with Patricia Fidler, a consummate professional in the field of art historical publishing, as well as others at Yale University Press, including my editor Phillip King, Michelle Komie, and Kristin Swan. Thanks also are due to Professor Ned Cooke of the History of Art department at Yale University, and to the Yale Publications in the History of Art series, which helped offset reproduction costs. No graduate could enjoy a more supportive alma mater.

Finally, the largest measure of my gratitude is due to my sons, Graham and Emmett, who truly are the wild things that make my heart sing, to my parents, Harvey and Glenda Werbel, and to my dear partner Fred Lane, who edited this text with love and care, and taught me how to be a real writer.

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