This volume, consisting of two books, represents the third phase of the publication and republication of The Image of the Black in Western Art, which began in November 2010. First published in 1989, it is the only complete volume in the series to have been written originally by a single author, the distinguished art historian Hugh Honour, though in this edition we have added two essays, one on Goya by Victor Stoichita and one on Russian painting by Paul Kaplan. It is to Hugh Honour that we owe the greatest debt for an exemplary text, which provided a model for the three books making up Volume III, which first appeared in 2010 and 2011.
Our warmest thanks must go to Josef Helfenstein, director of the Menil Collection, and the Menil Foundation, Houston, Texas, for allowing us to reprint the original volume, which was initiated and carried out by the Foundation.
At the W. Ε. B. Du Bois Institute for African and African American Research, Harvard University, we owe a great debt to Sheldon Cheek, senior curatorial associate, and to Vera Grant, executive director, who have both worked tirelessly to bring the whole series to a successful conclusion, and to Joanne Kendall. We would like to thank Dean Henry Rosovsky for establishing the conditions under which the image archive could be housed at the Du Bois Institute at Harvard, and to thank President Neil Rudenstine for fulfilling those conditions and overseeing the moving of the archive from the Menil Foundation in Houston to Cambridge. We would also like to thank President Lawrence Summers for the generous space in which the archive and its library are housed within the Du Bois Institute in Harvard Square.
As editors we have found it a huge pleasure working with Sharmila Sen and her wonderfully enthusiastic colleagues at Harvard University Press—Ian Stevenson, Tim Jones, Annamarie Why, Jill Breitbarth, Eric Mulder, Adriana Kirilova, Greg Kornbluh, Abby Mumford, Heather Hughes, and John Walsh—who have preserved the virtues of the earlier volume but also improved it in numerous ways. We are also grateful to Liz Duvall, Ken Krugh, Kevin Krugh, and Cheryl Lincoln at Technologies ‘N Typography, and to Ann Twombly.
We would also like to thank Zooid Pictures Ltd., especially Richard Philpott and Cristina Lombardo, who took on the enormous task of gathering the photographs for all the volumes and obtaining permissions for each one. They did this with great efficiency and good humor, and we are grateful to them.
DAVID BINDMAN, KAREN C. C. DALTON, AND HENRY LOUIS GATES, JR.