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Description: Facture: Conservation Science Art History Volume 1: Renaissance Masterworks
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PublisherNational Gallery of Art
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Acknowledgments
A journal as interdisciplinary as Facture could not have proceeded without the generous contributions of many individuals. To all, our heartfelt appreciation.
In the conservation division of the National Gallery of Art special thanks go to Mervin Richard, chief of conservation, whose unwavering support made the publication possible. We are also grateful to our conservation colleagues for many rewarding discussions: Im Chan, René de la Rie, Marian Dirda, Michelle Facini, Sarah Fisher, Ann Hoenigswald, Katy May, Judy Ozone, Michelle Stein, Shelley Sturman. Michelle LeBleu, Michael Skalka, and Nicola Wood ably managed administrative issues. For curatorial insights we thank John Hand, Mary Levkoff, Alison Luchs, Eleonora Luciano, Emily Pegues, and Andrew Robison. Maygene Daniels and Fulvia Zaninelli gave invaluable assistance with archival issues. We are also indebted to Ricardo Blanc, Lee Ewing, Lorene Emerson, Kenneth Fleisher, Gregory P.J. Most, Geneva Rosenboro, Gregory A. Williams, and Barbara Wood for kindly providing specialized images, permissions, and comparative material.
Colleagues throughout the United States and Europe played vital roles in reviewing drafts and sharing their expertise. In the U.S. these include: Frank Zuccari of the Art Institute of Chicago; James Ganz of the Achenbach Foundation for Graphic Arts, San Francisco; Christian Gerstheimer of the El Paso Museum of Art; Charlotte Vignon of the Frick Collection, New York; Mark Henderson, Sally McKay, and Tracey Schuster of the Getty Research Institute, Los Angeles; Francesca Bewer of the Harvard Art Museums, Cambridge; Shelley Bennett of the Huntington Library, San Marino; Molly Faries (retired) of Indiana University, Bloomington; Wendy Partridge of the Intermuseum Conservation Association, Cleveland; Virginia Brilliant of the John and Mable Ringling Museum of Art, Sarasota; Katharine Baetjer, Carmen Bambach, Michael Gallagher, Charlotte Hale, Lisa Harms, M. Dorothy Mahon, and Florica Zaharia at the Metropolitan Museum of Art, New York; Roy Perkinson (retired) from the Museum of Fine Arts, Boston; Scott Heffley of the Nelson-Atkins Museum of Art, Kansas City; Dennis Geronimus and Michele Marincola of New York University; Ilda François, Donald Prochera, and Elaine Rosenberg of the Paul Rosenberg Archives, New York; Max Marmor of the Samuel H. Kress Foundation, New York; Dan Cohen and Susan Roeper of the Sterling and Francine Clark Art Institute, Williamstown; Esther Méthé of the Textile Museum, Washington, DC; Joyce Hill Stoner of the University of Delaware, Newark; Cammy Brothers and Bruce Boucher of the University of Virginia, Charlottesville; Ulrich Birkmaier and Stephen Kornhauser of The Wadsworth Atheneum, Hartford.
International colleagues we would like to thank include: Venetia Constantine of Agnew’s Gallery, London; Hugo Chapman and Joanna Russell of the British Museum, London; Michael O’Malley of the Centre de conservation du Québec; Elisabeth Ravaud of the Centre de recherche et de restauration des musées de France, Paris; Jacqueline Thalmann of Christ Church, Oxford; Karen Serres, the Courtauld Gallery, London; Marie Payre, l’institut national du patrimioone, Saint Denis; Helen Spande in private practice, Florence; Rita Cassano of the Museo del Cenedese, Vittorio Veneto; Nicholas Penny, Ashok Roy, Lorne Campbell (retired), and Martin Wyld (retired) at the National Gallery, London; Robert van Langh and Elsje Janssen of the Rijksmuseum, Amsterdam; Christoph Zindel and Dr. Volker Krahn of the Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen zu Berlin; the late Maria Grazia Vaccari of the Museo nazionale del Bargello; Machtelt Israëls of the University of Amsterdam; Charlotte Hubbard of the Victoria and Albert Museum, London; and at Villa I Tatti, Florence, Ilaria Della Monica and Giovanni Pagliarulo.
Shaping a new publication is a rewarding and challenging enterprise. We are particularly grateful to colleagues at the National Gallery of Art whose discernment and commitment made this endeavor a reality. The editorial board played many roles and invested long hours in this first volume. Conservation editorial assistant Mira Patel provided patient and invaluable support that kept all the moving parts organized. Our colleagues in the National Gallery’s publishing office realized our vision: we are grateful to Judy Metro and Chris Vogel for their guidance and backing, to Tam Curry Bryfogle and Nancy Green for incisive editing, to Brad Ireland for the beautiful design, and to John Long and Mariah Shay for expert production support.
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