Acknowledgments
For their encouragement, Jean Sutherland Boggs thanks Gyde Shepherd and Anne d’Harnoncourt. For his initial suggestion of the project and invitation to participate, and his continuing support, Marjorie Benedict Cohn thanks Edward Saywell. She thanks Richard Wilbur for his reminiscence of Degas at Harvard in 1947 and his gracious permission to reprint his poem “L’Etoile” in this catalogue. For information and research assistance, she gratefully acknowledges the curators of the exhibition and also James Cuno, Michael T. Dumas, Richard Kendall, Eugenia Parry, Emily Rauh Pulitzer, Jean-Marie Rouart, Eunice Williams, and curators, archivists, registrars, and librarians at the Radcliffe Institute and Harvard University, the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Museum of Modern Art, and the Grolier Club in New York, the Philadelphia Museum of Art, and the Art Institute of Chicago. Above all, she extends her thanks to Abigail Smith, archivist of the Harvard University Art Museums.
The curators of the exhibition, Edward Saywell and Stephan Wolohojian, are profoundly grateful to all our curatorial colleagues for their sage advice and assistance throughout this project. Particular thanks must be given to Kerry Schauber and Michael T. Dumas for their invaluable support, as well as to Jodi Hauptman at the Museum of Modern Art. In making this exhibition and catalogue a reality, many here at the Harvard University Art Museums have assisted with great patience, kindness, and skill: in our paper lab, Craigen Bowen, who oversaw the reexamination of all of our drawings, and her colleagues in the painting and object labs who carried out with such care the conservation and preparation of many of the other works; the registrar of the exhibition, Amanda Ricker-Prugh, who meticulously administered the many loans to the exhibition; Allan Macintyre and Jay Beebe of Digital Imaging and Visual Resources, who photographed with beauty and skill so many of the works reproduced here, and Julie Swiderski, whose color proofing work and eye were invaluable; Evelyn Rosenthal and Carolann Barrett for their ever scrupulous editing; Becky Hunt and Steve Hutchison for designing a beautiful catalogue; and Danielle Hanrahan and her colleagues Peter Schilling, John Peitso, Jill Comer, and Jon Roll for their care, dedication, and expertise with the installation, and Steve Hutchison for its outstanding graphic design.
Acknowledgments
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