Acknowledgments

Marciari, John; Albendea, Carmen; McClure, Ian

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Acknowledgments

John Marciari, Carmen Albendea, Ian McClure, Anikó Bezur, Jens Stenger, Benito Navarrete Prieto

The Young Velázquez: The Education of the Virgin Restored

~Several individuals have contributed to the realization of this exhibition and its accompanying catalogue. Foremost are those who have steadily supported the project from its inception: Jock Reynolds, the Henry J. Heinz II Director, and Laurence Kanter, Chief Curator and the Lionel Goldfrank III Curator of European Art, both of the Yale University Art Gallery; Juan...

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John Marciari, Carmen Albendea, Ian McClure, Anikó Bezur, Jens Stenger, Benito Navarrete Prieto

PublisherYale University Art Gallery

https://doi.org/10.37862/aaeportal.00167.004

Stable URL: https://aaeportal.com/?id=-19536

Acknowledgments

Several individuals have contributed to the realization of this exhibition and its accompanying catalogue. Foremost are those who have steadily supported the project from its inception: Jock Reynolds, the Henry J. Heinz II Director, and Laurence Kanter, Chief Curator and the Lionel Goldfrank III Curator of European Art, both of the Yale University Art Gallery; Juan Ignacio Zoido Álvarez, mayor of Seville and President of the Instituto de la Cultura y las Artes de Sevilla (ICAS); and Emilio Botín, Executive Chairman, Salvador Medina, Global Director of Santander Universities, Global Division, Eduardo Garrido, Director of Santander Universities, and Francisco de Borja Baselga Canthal, Director General of the Foundation Banco Santander, all of Banco Santander.

The organizers of the exhibition and authors of the catalogue wish to express their gratitude to the Museo de Bellas Artes de Sevilla and the Minneapolis Institute of Arts for their generous loans.

For the past two years, the authors of the catalogue have worked seamlessly to present a cogent and comprehensive examination of Yale’s Education of the Virgin. They owe their gratitude to colleagues and scholars who contributed their expertise.

John Marciari extends a special thanks to Virginia Brilliant, John and Mable Ringling Museum of Art; Timothy Clifford, National Galleries of Scotland; Sol García, Ars Magazine; Patricia Sherwin Garland, former Senior Paintings Conservator, Yale University Art Gallery; Laurence Kanter; Elise K. Kenney, Archivist, Yale University Art Gallery; Julia Marciari-Alexander, Walters Art Museum; Lorenzo Pericolo, University of Warwick; Fernando Rayón, Ars Magazine; Matthew Rutenberg; and Salvador Salort-Pons, Detroit Institute of Arts.

Carmen Albendea, Ian McClure, Anikó Bezur, and Jens Stenger extend a special thanks to the following colleagues who generously shared advice, data, and information: Frank Zuccari, Art Institute of Chicago; Wendy Crawford and Serena Urry, Cincinnati Art Museum; Anabel Morillo, Fundación Focus-Abengoa; Damon Conover, George Washington University and the National Gallery of Art, Washington, D.C.; Rocío Bruquetas Galán, Instituto del Patrimonio Cultural de España; Charlotte Hale and Evan Read, Metropolitan Museum of Art, New York; Bénédicte de Donker, Musée des Beaux-Arts d’Orléans; Laura Alba, Rocío y María Teresa Dávila, Inmaculada Echevarría, Gabriele Finaldi, Jaime García-Máiquez, Carmen Garrido, María Dolores Gayo, and Javier Portús Pérez, all at the Museo Nacional del Prado; Mireia Mestre Campà and Mireia Campuzano i Lerín, both at the Museu Nacional d’Art de Catalunya; Zahira Véliz Bomford, Museum of Fine Arts, Houston; Lorraine Maule, National Galleries of Scotland; Ashok Roy and Larry Keith, both at the National Gallery, London; Muirne Lydon, National Gallery of Ireland; and Hilary Macartney, History of Art Department, University of Glasgow. At the Yale University Art Gallery, they thank the staff of the Conservation Department; Christopher Mir, Museum Technician, Visual Resources Department; and Elise K. Kenney, Archivist.

Benito Navarrete Prieto extends a special thanks to Teresa Laguna and Margarita López, Catedral de Sevilla; José Morón Borrego, Fotógrafo; Rocío García Carranza, Roberto Alonso Moral, and Anabel Morillo, Fundación Focus-Abengoa; Valme Muñoz, Rocío Izquierdo, and Ignacio Hermoso, Museo de Bellas Artes de Sevilla; José Roda Peña, Universidad de Sevilla; Basilio Rodríguez García, Olivares; and Jesús Urrea, Universidad de Valladolid.

At the Yale University Art Gallery, many staff members worked on the different aspects and logistics of this project: L. Lynne Addison, Registrar; Paola D’Agostino, the Nina and Lee Griggs Assistant Curator of European Art; Amy Dowe, Senior Associate Registrar; John ffrench, Director of Visual Resources; Pamela Franks, Deputy Director for Exhibitions, Programming, and Education and the Seymour H. Knox, Jr., Curator of Modern and Contemporary Art; Jessica Labbé, Deputy Director for Finance and Administration; Meghan Lynch, Museum Assistant, Department of European Art; Brian P. McGovern, Assistant Director of Advancement; Charlene Senical, Assistant Business Manager; and Jill Westgard, Deputy Director for Advancement.

The production of the catalogue benefitted from the expertise of Christopher Sleboda, Director of Graphic Design; Tiffany Sprague, Director of Publications and Editorial Services; and Stacey Wujcik, Assistant Editor.

The organization and the presentation of the exhibition at the Convento de Santa Clara in Seville would not have been possible without the following: María del Mar Sánchez Estrella, Deputy Mayor for Culture, Education, Sports, and Youth and Vice President of ICAS; María Eugenia Candil Cano, General Manager of the Department of Culture; Rosario Pérez Pérez, Manager; Rocío Guerra Macho, Head of the Administrative and Economic Department of ICAS; Marcos Fernández, Head of the Publishing Department of ICAS; and José Lucas Chaves Maza, Cultural Projects and Activities Manager. Special thanks go to Santiago Martínez-Vares Gigliotti, Communications Manager at the City of Seville Council; and Alberto Díaz, Chief of Staff, and Alegría Cardesa, Deputy Chief of Staff, both at the Mayor’s Office of Seville.

At Banco Santander, Paloma Botín, Emanuela Magadlena Gidea, and Charo López are also gratefully acknowledged.

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