Acknowledgments

Pon, Lisa

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Acknowledgments

Lisa Pon

Description: Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance...

Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print

~This book could not have been written without the postdoctoral research fellowship I held at the Getty Research Institute between 2000 and 2002. In addition to two thematic seminars that shaped my thinking (“Reproductions and Originals” in my first year and “Frames of Viewing” in my second) and the company of the remarkable individuals...

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Lisa Pon

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20880

Acknowledgments

This book could not have been written without the postdoctoral research fellowship I held at the Getty Research Institute between 2000 and 2002. In addition to two thematic seminars that shaped my thinking (“Reproductions and Originals” in my first year and “Frames of Viewing” in my second) and the company of the remarkable individuals brought together as Getty fellows, scholars, and staff, I was granted that Woolfian requirement for thinking and writing: a room of my own and a stipend for two years. I am grateful to Tom Crow and the whole Getty community for that exceptional opportunity.

The manuscript was completed during my tenure as a visiting postdoctoral fellow in the Department of History of Science at Harvard. I thank Mario Biagioli, my departmental sponsor, and Katharine Park for occasions to present and discuss my work there. During this final phase, Graham Larkin, Stephan Wolohojian, and Michael Zell also read and commented on portions of the text. In addition, the work benefited from the questions and comments I received while speaking as the Dolly Arnstein Docent Enrichment Lecturer at the Saint Louis Art Museum in April 2002, and at the Raphael Symposium at the National Gallery, London in November 2002. Earlier versions of some material in chapters two and four were published as “Marcantonio and Raphael,” a Shorter Notice in Print Quarterly, 16 (1999):368–70; “Alla Insegna del Giesù: Publishing Books and Images in Renaissance Venice,” The Papers of the Bibliographic Society of America, 92 (1998):443–64; and, “Prints and Privileges: Regulating the Image in Sixteenth-Century Italy,” Harvard University Art Museums Bulletin, 6 (1998):40–64.

This project has its roots in my graduate work at Harvard, so I should like to thank my main teachers there again. Marjorie Cohn and Joseph Koerner were formative influences on how I approach works of art. My two dissertation advisors, Professors Shearman and Zerner, encouraged me to find my own way in a field shaped by their efforts. John Shearman patiently elaborated on his published thoughts on Raphael and his workshop, and helped me reconsider issues ranging from the Prince Consort Albert’s role in the history of photography to the nature of imitation in the Renaissance. Henri Zerner, last only in alphabetical order and first in his ongoing support of this project, shared his expertise on Renaissance painting and printmaking, all the while encouraging me to form my own opinions on classic problems in the literature. My research, during and after graduate school, has been supported by the Mellon Foundation, the Whiting Foundation, the Bibliographical Society of America, and the Gladys Krieble Delmas Foundation. The Delmas Foundation has also given a much-appreciated grant to help defray the costs of publication.

Four exceptionally generous individuals supported this project at critical stages: Anne Wagner, Ingrid Rowland, Mieke Bal, and Julia Bloomfield. Four others allowed me crucial access to works in their care: Martin Clayton, Hugo Chapman, Tom Rassieur and Henri Zerner. Craigen Bowen, Henry Lie, Ron Spronk and Michael Smith helped me work out the digital analysis presented in chapter four. Patrick Murphy and Arnold Nesselrath went out of their way to help me acquire photographs for this book. Ashley Hoffman drew two figures published here, in addition to her other efforts as my research assistant at the Getty Research Institute. Many other teachers, colleagues, and friends have helped me, in more ways than I can count. They include: Denise Allen, Lilian Armstrong, Malcolm Baker, Paul Barolsky, Can Bilsel, Mario Carpo, Chloe Chard, Lorraine Daston, Gail Feigenbaum, Christine Giviskos, Jennifer Fletcher, Catherine Hess, Melissa Hyde, Kajri Jain, Antien Knaap, Ingrid Larkin, Sherrie Levine, Michael Lobel, Joseph Loewenstein, Maria Loh, Louis Marchesano, Juliana Maxim, Ruth Leader Newby, Allegra Pesenti, Andrew Perchuk, Deanna Petherbridge, Isotta Poggi, Adrian Randolph, Marcia Reed, Sabine Schlosser, Eric Segal, Roger Stoddard, Carol Tognieri, Bobbie Tigerman, Mado Trepanier, William Wallace, Saundra Weddle, Mark Weil, Aidan Weston-Lewis, Alistair Wright, Nancy Yocco. Sandy Chapman and Gillian Malpass of Yale University Press have given their unstinting support and tireless efforts to make this book possible.

This book still would not have been written without the generous and loving support of my family: my parents, Tai and Pauline; my parents-in-law, Tom and Barbara; my brother, Leo; my husband, Jim; and perhaps most of all, my son, Theodore. For Teddy first encountered and acquired language joyously in the years I wrote this book, inspiring me to find the words that follow.

Note: The numbers preceded by a B. in the text give the catalogue numbers from Adam von Bartsch, Le Peintre-Graveur (Vienna, 1803–21). Measurements of works on paper are given to the sheet’s edge unless otherwise indicated. All translations, unless otherwise noted, are my own. I have generally kept the original spelling of transcriptions while modernizing the capitalization, punctuation, and usage of the letters i, j, u, and v.

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