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Description: The Art of Impressionism: Painting Technique and the Making of Modernity
PublisherYale University Press
I would like first to express my gratitude to The Leverhulme Trustees for their financial support of my research since the beginning of my academic career, through studentships and a fellowship, not least for work on the present book; without their backing I would not be where I am today. I am grateful, too, to the British Academy for the Small Grants for research travel costs awarded me, and to the Arts and Humanities Research Board for their generous contribution towards the exorbitant costs of illustrating this book in the high-quality colour necessary to give meaning to the arguments. My thanks to Warwick University, where much of this book was written, for regular support both through research funding and study leave; to De Montfort University, where my post as Research Professor gave me the time to complete and revise it; and to my current employer Nottingham University, whose Research Committee was prepared to underwrite the photographic costs in advance of my start-date. Public and private institutions without whose assistance this research would not have been possible include the Archives Durand-Ruel and the Fondation Wildenstein in Paris; Lefranc Bourgeois in Le Mans; Winsor & Newton, London; the Bibliothèque National, the Bibliothèque des Arts et Métiers, the Ecole des Beaux-Arts and the Archives de la Seine, in Paris; the British Library, the National Art Library (Victoria & Albert Museum) and the Wellcome Library for the History of Medicine, London.
Colleagues and friends with a special interest in the field have been a vital help during the research and writing of this book. First among these is Bob Ratcliffe, who initially encouraged me to work on this subject and supervised my PhD at the Courtauld Institute of Art, London; other significant contributors there have been John House and, in the Technology Department, notably Caroline Villers and the late Gerry Hedley. I am greatly indebted to all those who, like the conservation and materials research specialists at the Musée du Louvre, Paris, and the National Gallery, London, have made public their important scientific findings on nineteenth-century paintings, and to those who have generously offered me their assistance, providing information, permitting me to photograph paintings, and/or answering specific queries. These include the late M. Marc Havel, who shared with me his extensive knowledge of paint and materials production at Lefranc Bourgeois, Le Mans, and his collection of historic colourmen’s catalogues; Rosamund Harley, who first introduced me to the Winsor & Newton collections; Douglas Druick, Peter Zegers, and conservation staff at the Art Institute of Chicago; Rica Jones and Stephen Hackney of the Tate Gallery Conservation Department; Mary Anne Stevens (The Royal Academy); Jon Whiteley (Ashmolean Museum, Oxford); curatorial and conservation staff at the National Museum of Wales, Cardiff, and at the Fitzwilliam Museum, Cambridge; staff in the Laboratoire de Recherche des Musées de France; Vojtĕch Jirat-Wasiutyński (Queen’s University, Kingston, Ontario) and H. Travers Newton (Santa Barbara); Lesley Carlyle (Ottawa); E. van de Wetering (Amsterdam); Jacqueline Macnaughton (Australia).
My warm thanks, variously, for illuminating conversations, exchange of ideas, shared close study of paintings, and supportive friendship, to Kathy Adler, James Barrett, Christine Battersby, Charlotte Brunsdon, Robyn Cooper, Christopher Couch, Lili Couvée, Cécile Delesalle, Marion Doyen, Richard Dyer, David and Denise Fowler, John Gage, Alfreda McHale, Michael Hatt, Paul Hills, John House, Nick Mirzoeff, Rozsika Parker, Marcia Pointon, Griselda Pollock, Irit Rogoff, Michael Rosenthal, Nanette Salomon, Richard Shiff, Roger and Jennifer Silverstone, Virginia Spate, Carolyn Steadman, MaryAnne Stevens, Helen Taylor, Martha Ward, Nick Watkins, Jon and Linda Whiteley, and Roger Whittenbury.
I count myself fortunate to have the enthusiastic commitment to this project of John Nicoll, and I am greatly indebted, too, to my book editors, firstly Kate Gallimore at Yale who began the editing process, and then Jane Havell. I am grateful to Jane for her superb handling of text and design, and the care and intelligence she has brought to the project, and also to Helen Baz for her good work in preparing the index. My thanks to all and, importantly, to Julia Brown, whose prosaic title ‘picture researcher’ does justice neither to her wit nor to her knowledge and skill in gathering the visual material.
Warmest thanks to Nick Spencer for his consistent encouragement and good humour and to my wonderful children, Phoebe and Tom, for being there. I regret that my mother, so lovingly involved in this book, did not live to see it published.
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