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Acknowedgments
Daphne Barbour (Editor), E. Melanie Gifford (Editor)
Description: Facture: Conservation Science Art History Volume 2: Art in Context
Facture: Conservation Science Art History Volume 2: Art in Context
Acknowedgments
Author
Daphne Barbour (Editor), E. Melanie Gifford (Editor)
PublisherNational Gallery of Art
Copyright© 2015 Board of Trustees, National Gallery of Art
Stable URL: https://aaeportal.com/?id=-20062
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Acknowedgments
The publication of volume 2 of Facture relied on the collaboration and goodwill of numerous colleagues. We are extremely grateful to all.
Special thanks go to Mervin Richard, chief of conservation at the National Gallery of Art, for the unstinting support that ensures Facture’s continued success. We are also grateful to our conservation colleagues for their generous contributions: Barbara H. Berrie, Michelle Facini, Jay Krueger, Douglas Lachance, Suzanne Lomax, Katy May, Michael Palmer, Dylan Smith, Shelley Sturman, and Kimberly Schenck. Administrative responsibilities were adeptly accomplished by Michael Skalka, Michelle LeBleu, and Nicola Wood. Harry Cooper, David Essex, Ruth Fine (retired), Alison Luchs, and Debra Pincus provided vital curatorial insight. We are also indebted to Lali Nasr from the publishing office and to Lorene Emerson, Lee Ewing, Ken Fleisher, Alan Newman, and Barbara Wood from the division of visual services for creating, locating, and procuring specialized images and permissions.
Many generous colleagues both in the United States and in Europe reviewed essays and contributed their expertise to the volume. In the United States they include Christine Daulton and Neil Printz of the Andy Warhol Foundation, New York; Matt Wrbica, the Andy Warhol Museum, Pittsburgh; Judy Walsh, Buffalo State College; Joseph Godla and Julia Day of the Frick Collection, New York; Francesca Bewer, Harvard University Art Museums; Mark Sandona, Hood College, Frederick, Maryland; Steve Roy, private practice, Hopewell Junction, New York; Arlene Balkansky, Library of Congress, Washington, D.C.; Denise Allen, Jim Draper, Larry Becker, Linda Borsch, and Richard Stone (retired) of the Metropolitan Museum of Art, New York; Annette Manick, Museum of Fine Arts, Boston; William Brown, North Carolina Museum of Art, Raleigh; Simona Cristanetti, Oriental Institute of Chicago; Andrew Lins, Philadelphia Museum of Art; Renee Maurer, the Phillips Collection, Washington, D.C.; Andrew Baxter, private practice, Richmond, Virginia; Barry Daly, University of Maryland; Jessica Stewart, independent scholar, Washington, D.C.; Jacqueline Marie Musacchio, Wellesley College, Wellesley, Massachusetts; Carol Mancusi-Ungaro, Whitney Museum of American Art, New York; and Jens Stenger, Yale University, New Haven.
We are also grateful to many international colleagues: Tonny Beentjes, University of Amsterdam; Elisabeth Ravaud, Centre de recherche et de restauration des musées de France, Paris; Karen Serres, Courtauld Institute of Art; Paola Ricciardi, Fitzwilliam Museum, Cambridge; Mary Westerman Bulgarella and Roberta Orsi Landini, independent scholars, Florence; Claudia Cremonini, Adriana Augusti, and Serena Bidorini, Galleria Giorgio Franchetti alla Ca’ d’Oro; Susanna Bracci, Istituto per la Conservazione e la Valorizzazione dei Beni Culturali, Florence; Stephan Diederich and Kathrin Kessler of the Museum Ludwig, Cologne; Philippe Malgouyres, Marc Bascou, and Dominique Thiébaut of the Musée du Louvre, Paris; Catherine Chevillot, François Blanchetière, Véronique Mattiussi, Hélène Pinet, and Sandra Boujot of the Musée Rodin, Paris; Mario Kramer and Ulrich Lang of the Museum für Moderne Kunst, Frankfurt; Larry Keith, National Gallery, London; Flemming Friborg, Line Clausen Pedersen, and Rebecca Hast of the Ny Carlsberg Glyptotek, Copenhagen; Cecilia Frosinini, Opificio delle Pietre Dure, Florence; Veneranda Arca del Santo and the friars of the Basilica di San Antonio, Padua; Cinzia Pasquale, private practice, Paris; Peta Motture, Victoria and Albert Museum, London; and Julian Gardner, University of Warwick.
The biennial publication of an institutional journal demands the commitment of many additional National Gallery colleagues: to all our heartfelt appreciation. Members of the editorial board devoted themselves to ensuring the success of this volume. An enormous debt of gratitude is owed to Mira Patel, conservation editorial assistant, who patiently coordinated the initial phases of the volume. In the National Gallery’s publishing office, Judy Metro and freelance editor Ann Hofstra Grogg ensured expert editing, Chris Vogel and Wendy Schleicher provided valuable insight to Brad Ireland’s beautiful design, and John Long gave expert production support.