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Description: German Romanticism and English Art
~This book is an expanded and revised version of my Ph.D. thesis, ‘The German Manner in English Art, 1815–55’ (University of London, 1977). I would like to thank first my two supervisors for that work, Professors L. D. Ettlinger and Michael Kitson. The former stimulated my enthusiasm and gave me the courage to undertake a project which was, in the...
PublisherPaul Mellon Centre
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Preface
This book is an expanded and revised version of my Ph.D. thesis, ‘The German Manner in English Art, 1815–55’ (University of London, 1977). I would like to thank first my two supervisors for that work, Professors L. D. Ettlinger and Michael Kitson. The former stimulated my enthusiasm and gave me the courage to undertake a project which was, in the beginning, quite bewildering. The latter saw the finished product through with great sympathy and patience, and was directly responsible for it being considered for publication.
There have been many who have offered invaluable help and advice. Keith Andrews has been throughout most encouraging and most generous in his suggestions. Peter Howell and Clive Wainwright have given me most valuable information about Pugin, De L’Isle and Hauser. Martin Harrison very generously shared information about borrowings from Nazarene pictures by Victorian stained-glass designers. The late Celia Phillips very kindly followed up references for me in a number of archives in the United States. I would like to thank Dr George Katkov and Professor Michael Podro for having read through Chapter II and for making invaluable suggestions. John Peppin most kindly read through the whole text and made innumerable improvements.
I have received help from numerous archives, libraries and museums and would like to mention in particular that given by the staffs of Aberdeen Art Gallery; Kupferstichkabinett, Staatliche Museen, Berlin; Staatsarchiv, Berlin; Landesbibliothek and Gemäldegalerie, Dresden; National Gallery of Scotland, Edinburgh; Kunsthalle, Hamburg; British Museum, Tate Gallery and Victoria and Albert Museum, London; Centralbibliothek and Staatsarchiv, Munich; and Ashmolean Museum, Oxford.
Amongst the many who have discussed topics relating to this thesis with me I would like to thank especially the following: Dr David Bindman, Professor Alan Bowness, Dr Helmut and Dr Eva Borsch-Supan, Dr Anita Brookner, Dr Hans Ebert, Stephen Calloway, Dr John Gage, Timothy Hilton, Dr Jens Christian Jensen, Dr Stefan Muthesius, Dr Hans Joachim Neidhardt, Richard and Leonée Ormond, Dr Alexander Potts, Dr Gottfried Riemann, Dr Reihe, Professor Allen Staley, Dr John Turpin and Professor Siegfried Wichmann. Professor John White has given great support during the period in which this book was written.
Finally I should like to thank the Paul Mellon Centre for Studies in British Art and Yale University Press who have made possible the publication of this book. At the Yale University Press John Nicoll has been a most understanding editor and Faith Hart invaluable in bringing the text up to a printable standard.
William Vaughan
London, 1978
Preface
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