Acknowledgments

Hornstein, Katie

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Acknowledgments

Katie Hornstein

Picturing War in France, 1792–1856

~It is my pleasure and honor to thank the people and institutions who made this book possible. My decision to study French nineteenth-century art history owes everything to Darcy Grimaldo-Grigsby, whose mentorship I was lucky enough to receive as an undergraduate at UC Berkeley. This project first began as my doctoral dissertation in the Department of the History of...

Author

Katie Hornstein

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00094.002

Stable URL: https://aaeportal.com/?id=-18317

Acknowledgments

It is my pleasure and honor to thank the people and institutions who made this book possible. My decision to study French nineteenth-century art history owes everything to Darcy Grimaldo-Grigsby, whose mentorship I was lucky enough to receive as an undergraduate at UC Berkeley. This project first began as my doctoral dissertation in the Department of the History of Art at the University of Michigan under the supervision of Susan Siegfried and was directly inspired by her pioneering scholarship on Napoleonic battle painting. Ever since my graduate student days, Susan’s intellectual generosity, encouragement, and razor-sharp feedback has been constant. I will forever be grateful for the privilege of having her as my adviser. I am also delighted to thank Patricia Simons, Michèle Hannoosh, and Howard Lay for their advice, encouragement, and critical guidance.

Conversations over the years with Marie-Claude Chaudonneret and David O’Brien have enriched this book immeasurably. My thinking has also benefited from intellectual exchanges with Allan Doyle, Nina Dubin, Steve Edwards, Jacqueline Francis, Marc Gotlieb, Mechthild Fend, Amy Freund, Jessica Fripp, Lela Graybill, Deena Goodman, Jason Hill, Laura Kalba, Nina Athanassaglou-Kallmyer, Anne Lafont, Ségolène Le Men, Diana Martinez, Ellen McBreen, Neil McWilliam, Satish Padiyar, Alex Potts, François Robichon, Nicolas Schaub, Vanessa Schwartz, Richard Taws, Melanie Vandenbrouck, and Sue Walker. Collaboration with Daniel Harkett has helped me articulate what is at stake when art history takes Horace Vernet and other artists like him seriously. Jacob Lewis alerted me to the existence of the Charles Nègre photograph of the assistant that was crucial for my thinking about war imagery and intermediality. In February 2015, this book underwent a manuscript review at the Leslie Center for the Humanities at Dartmouth College that proved to be fundamental to its present form. I thank Mary Coffey, Adrian Randolph, Katherine Hart, Keith L. Walker, and Collen Boggs for their encouragement and rigorous engagement with my project. Special thanks also go to the two external readers at the manuscript review, David O’Brien and Marc Gotlieb, whose feedback helped me look at my material with a fresh eye and has been invaluable in the final stages of writing.

My research would not have been possible without the curators and librarians who graciously made materials available to me. At Versailles, Fréderic Lacaille helped me access military paintings that have been indispensable to my research; I thank him for his time and his deep knowledge about nineteenth-century French military painting, which has informed the writing of this book at every stage. Thanks also to Caroline Joubert at the Musée des Beaux-Arts in Caen and to the librarians in the Department des Estampes et de la Photographie at the Bibliothèque Nationale, the library of the Institut National d’Histoire de l’Art, the Service Historique de la Défense, the McGill Special Collections Library, and Peter Harrington at the Anne S. K. Brown Military Collection of Brown University. Special thanks to Elizabeth Kurtulik Mercuri at Art Resource for helping me locate essential images for this book.

At Dartmouth, generous funding was provided by the Leslie Center for the Humanities and the Office of the Associate Dean of the Arts and Humanities. This book’s publication was also funded through a Millard Meiss publication grant from the College Art Association. At earlier stages, generous financial support was provided through predoctoral fellowships from the American Council of Learned Societies, Fulbright, the Samuel H. Kress Foundation, and the Georges Lurcy Foundation. An American Council on Learned Societies/Andrew Mellon Foundation Fellowship for Recent Doctoral Recipients gave me a year to revise the dissertation in Paris. I am grateful to Amy Canonico at Yale University Press, who has shepherded this book through the publication process and was enthusiastic about it from my first contact with her. At Yale, I would also like to thank Heidi Downey, Mary Mayer, Raychel Rapazza, and my copyeditor, Miranda Ottewell. I would also like to extend a heartfelt thanks to the two anonymous peer reviewers, whose incisive feedback, suggestions, and encouragement made this a better book.

The Department of Art History at Dartmouth College has been the ideal place to bring this project to completion. My colleagues are a model of collegiality and good humor; they provided feedback and encouragement when I needed it most and made it a complete joy for me to come to work. Special thanks to Nick Camerlenghi, Allen Hockley, Ada Cohen, Holly Schaffer, Joy Kenseth, and Mary Coffey. Thanks to Samantha Potter, Betsy Alexander, and Janice Chapman Allen for supporting my research at every turn. Outside of the Art History Department, I thank the members of the Nineteenth-Century Studies Group at the Leslie Center. I would also like to thank Lucas Hollister, David Laguardia, Eng-Beng Lim, Lawrence Kritzman, Robert St. Clair, and Barbara Will. Teatime and scholarly disquisition with Yasser Elhariry proved essential to the completion of this book.

My friends and family have sustained me throughout my days in graduate school up through the present. I would like to thank Christina Chang, Kathy Zarur, Heidi Gearhart, and Jessica Fripp for friendship at Michigan and far beyond. Thanks also to Isidora Gunbill and Lucia Urso, Eva Macali, and Anthony Viti. My deepest gratitude to the Hanover Sandwich and Salad Society cofounders Jonathan Mullins and Aaron Thomas. Since the dawn of the current millennium, Elena Byhoff has never stopped telling me that everything would work out. Victoria Diamantidis, Jim and Nick Hornstein, Betsy Mosteller and Mark Freedman have been my biggest cheerleaders on this journey. Their empathy and encouragement kept me going. Myszka Hornstein-Witkowski’s playful feline distractions were essential to my writing process. Viktor Witkowski has been a presence in my life since the first day of graduate school, when I met him outside Susan Siegfried’s office. He is in this book in so many immeasurable ways, and it is no exaggeration to say that he made its completion possible.

When I was writing this book, my cousin, Captain James Edward Chaffin, was killed in action while serving with the Eighty-Second Airborne Division in Kandahar, Afghanistan. Ed loved military history and would have read this book from cover to cover. I dedicate it to him.

Portions of this book have appeared in modified forms in the following publications: “Suspended Collectivity: Horace Vernet’s The Crossing the Arcole Bridge (1826),” Art History 72, no. 3 (June 2014): 429–53 (I am grateful to the Association of Art Historians for granting me permission to reproduce it here); “Horace Vernet’s Capture of the Smalah (1845): Reportage and Actuality in the Early French Illustrated Press,” in Getting the Picture: The History and Visual Culture of the News, edited by Jason Hill and Vanessa Schwartz (London: Bloomsbury, 2015), 246–51; and “The Territorial Imaginary of the Revolutionary and Napoleonic Wars,” in Visual Culture and the Revolutionary and Napoleonic Wars, edited by Philipp Shaw and Satish Padiyar (London: Ashgate, 2016).

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