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Acknowledgments
Hollis Clayson
Description: Painted Love: Prostitution in French Art of the Impressionist Era
Painted Love: Prostitution in French Art of the Impressionist Era
Acknowledgments
Author
Hollis Clayson
PublisherYale University Press
Copyright© 1991 by Yale University
Stable URL: https://aaeportal.com/?id=-22816
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Acknowledgments
One day about fifteen years ago, I walked into T. J. Clark’s office at the University of California at Los Angeles and announced my intent to study the Impressionists’ abandonment of urban motifs in the 1880s as a social way of explaining the “crisis” of Impressionism. Clark suggested that I investigate instead the many representations of prostitutes in French art and literature of the 1870s. What seemed then to be merely a fascinating iconography to track – “images of women” – turned out to be a far richer and more important topic than I could have imagined at the time.
I owe my chief debt of gratitude to Tim Clark for both his help and his example. I’ve been fortunate also to find friendship, support, and high standards combined in Tom Crow, Serge Guilbaut, Nancy Troy, and Marty Ward. The encouragement over the long haul supplied by Carol Duncan, Sandra Hindman, Sarah Maza, Larry Silver, and David Van Zanten has been very important to me. And long before I ever met them, Linda Nochlin’s and Griselda Pollock’s work helped me a great deal.
Special thanks go to Tom Crow, Nancy Ring, and Julia Sagraves. Tom’s comments reignited work on a stalled project. Nancy’s nonpareil help with matters both editorial and substantial enabled me to structure and write the book. Julia’s careful reading of the text prompted a final key round of rewriting. I also benefited from suggestions made by anonymous readers for Yale University Press.
James Clayson Cogbill just about prevented me from finishing this, but Neil Cogbill was a beacon of confidence and support when the project appeared swamped by teaching and domestic responsibilities. I daily regret that James Clayson did not live to see the completion of this book. He might not have read it, but he would have stopped passersby on the street to brag about it.
My dissertation research in Paris was made possible by an Edward A. Dickson Fellowship in the History of Art from U.C.L.A. In Paris, I profited from the resources and helpfulness of the Bibliothèque Nationale, Archives Nationales, Archives de la Préfecture de Police, and Bibliothèque de la Musée des Arts Décoratifs; and in Strasbourg, from the Bibliothèque Nationale and Institut de l’Histoire de l’Art. Generous private benefactors in Strasbourg and Wichita provided critical financial help that assured the continuation of work on my Ph.D. thesis. I thank the University Research Grants Committee of Northwestern University for a timely award that helped to defray the cost of the photographs used in this book. I thank Patricia Barratt, Janet Cywrus, Neal Meltzer, Theodore Reff, and Richard Thomson for their help in locating reproductions. Finally, I am grateful for the steadfast interest and commitment of Judy Metro, senior editor at Yale University Press, and for the excellent editorial attention given a first book by Karen Gangel, manuscript editor.
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