Acknowledgments

Johns, Elizabeth

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Acknowledgments

Elizabeth Johns

American Genre Painting: The Politics of Everyday Life

A number of institutions and individuals have made this study possible. A Guggenheim Fellowship and a fellowship at the Woodrow Wilson International Center for Scholars in 1985 and 1986 and a research leave at the University of Pittsburgh in 1987 enabled me to formulate, research, and write early drafts of the book. Colleagues and students who heard short papers about segments of the work in progress were generous with their questions and emendations. At a colloquium at the Woodrow Wilson Center …

Author

Elizabeth Johns

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00011.002

Stable URL: https://aaeportal.com/?id=-15127

Acknowledgments

A number of institutions and individuals have made this study possible. A Guggenheim Fellowship and a fellowship at the Woodrow Wilson International Center for Scholars in 1985 and 1986 and a research leave at the University of Pittsburgh in 1987 enabled me to formulate, research, and write early drafts of the book. Colleagues and students who heard short papers about segments of the work in progress were generous with their questions and emendations. At a colloquium at the Woodrow Wilson Center in 1986, Thomas Bender and Lois Fink made suggestions at a crucial time, and I was grateful at the center for the support and interest of Michael Lacey, director of the program for the study of politics and American society. Particularly helpful at the University of Maryland, College Park, were my colleagues James Gilbert, David Grimsted, Gordon Kelly, and Larry Mintz; at the University of Pittsburgh, Samuel Hays, Peter Karsten, Joan Weinstein, and Aaron Sheon; and at large, Michael Fellman, Wanda Corn, Jean T. Baxter, H. Barbara Weinberg, and John B. Bennett. Colleagues at archival centers have been of invaluable help, especially Bernard Reilly, curator of Prints and Photographs, Library of Congress; Terry Ariano in the Print Collection of the Museum of the City of New York; Georgia Barnhill at the American Antiquarian Society; Zed David, librarian at the Woodrow Wilson Center; the staff of the Rare Books Room of the Library of Congress; the staffs of the Print Room of the New York Public Library and the New-York Historical Society; and the staff of the Julian Library of the San Diego County Library system, where I spent a summer stretching to the limit the capacities of the interlibrary loan system. Research assistants made the staggering bibliography manageable, and I thank in particular Stephen Scott Epstein, Janet Marstine, Elizabeth Sargent, Jennifer Corrigan, and Andrew Kronenberg.

I would also give grateful tribute to the intellectual community that nourished me as I undertook this work: my students, especially my graduate students, at the University of Pennsylvania (and before that, at the Universities of Pittsburgh and Maryland) and faculty colleagues there and elsewhere who have rigorously questioned motives, selectivity, formulation, audience, and purpose in the studies of the history of art that we have investigated together. Perhaps the most important dimension of this community is our conviction that creating a tapestry about the social and artistic legacies of the present and the past is an ongoing process.

Beyond this supportive community, I would single out several individuals without whom the work could not have taken final shape. To Ann Abrams, Joan Weinstein, Alan Wallach, and David Lubin goes my deepest gratitude for their devoted readings of my drafts. To Judy Metro at Yale University Press my sincerest thanks for her unfailing graciousness, encouragement, and sense of humor; and to Laura Dooley at the Press my gratitude for her sensitive editing. I was particularly fortunate in the advice of two readers for the Press (Michael Kammen identified himself) although I could not always do their suggestions justice. Finally to my husband, Max T. Johns, to whom I dedicate this book, my unbounded gratitude for his devotion and sympathy over the long haul. He taught me the economic history of the United States long before I suspected that it had more than a slight relationship to art; I am fortunate to have had so charming, and so insistent, a tutor.

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