Acknowledgements

Prettejohn, Elizabeth

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Acknowledgements

Elizabeth Prettejohn

Art for Art’s Sake: Aestheticism in Victorian Painting

This book has been in progress for more than a decade – so long that I cannot hope to record all of its debts; I thank the innumerable friends and colleagues who have influenced my thinking over many years. In its earliest stages the research benefited from the encouragement and advice of John House, from the support of Nicholas Prettejohn, and from numerous...

Author

Elizabeth Prettejohn

PublisherPaul Mellon Centre

Stable URL: https://aaeportal.com/?id=-31925

Acknowledgements

This book has been in progress for more than a decade — so long that I cannot hope to record all of its debts; I thank the innumerable friends and colleagues who have influenced my thinking over many years. In its earliest stages the research benefited from the encouragement and advice of John House, from the support of Nicholas Prettejohn, and from numerous conversations with Hilary Jane Morgan (now Underwood), whose M.Phil, thesis for the Courtauld Institute of Art first broke the ground for the scholarly study of Aestheticism in Victorian painting.

Stephen Bann, Tim Barringer, Edward Morris and three anonymous readers for Yale University Press read the whole, or a majority of, the manuscript, and offered both detailed suggestions and valuable general guidance. Individual chapters were read by Stephen Eisenman, John House, Amanda Kolson Hurley, Sally-Anne Huxtable, Margaret MacDonald, Matt Potolsky, Matthew Potter and Rachel Sloan. I am also grateful to the audiences who responded to chapters read at seminars and conferences, and to those who invited me to speak: Joanna Banham, Paul Barlow, Nicola Bown, Jason Edwards, Kate Flint, Imogen Hart, Duncan Kennedy, Marion Thain and Colin Trodd. Several chapters were presented to the Art History Research Seminar at the University of Plymouth, and I am especially grateful to my colleagues there for their comments and support over nearly a decade: Gemma Blackshaw, Graham Clucas, Jeff Collins, Jennifer Graham, David Jeremiah, Katy Macleod, Malcolm Miles, Stephanie Pratt, Colin Searls, Sam Smiles, Liz Wells and the many students who participated in the seminars. Among many who offered valuable suggestions, or answered queries on particular points, I should particularly like to thank Isobel Armstrong, Caroline Arscott, Robyn Asleson, Edwin Becker, Gillian Clark, David Peters Corbett, Colin Cruise, Whitney Davis, Donato Esposito, Alastair Grieve, Michael Hatt, Kenneth Haynes, Lin Holdridge, David Hopkins, Louise Hurrell, Ronald Hutton, Ian Jenkins, Mark Samuels Lasner, Christopher Newall, Liz Potter, Benedict Read, Anna Gruetzner Robins, Jason Rosenfeld, Dorothy Rowe, Alison Smith, Julian Treuherz, Peter Trippi, Robert Upstone and Vanda Zajko. Gabriel Martindale provided detailed information on Jewish matters.

The completion of this book was made possible by a Senior Research Fellowship from The Paul Mellon Centre for Studies in British Art, which has also generously supported the book’s production; I am enormously grateful to Brian Allen, Frank Salmon and the members of the grants and publications committees. I also thank the University of Bristol, and particularly the Dean of Arts, Bob Fowler, for supporting the cost of picture research.

Gillian Malpass has given consistent encouragement since this book was first planned and has provided the most expert guidance at every stage. Lisa Agate has been a truly superb picture researcher, solving every problem with aplomb and good humour; my debt to her energy, expertise and resourcefulness is immense.

Charles Martindale has been the inspiration for this book, as well as its most dedicated reader and most astute critic.

Elizabeth Prettejohn
Bristol, September 2006

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