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Credits and Acknowledgments
Producing the definitive catalog of the thirteenth- and fourteenth-century Italian paintings in the National Gallery of Art has been a highly complex undertaking that could not have been accomplished without the contributions of many individuals for more than a decade. We are supremely grateful to the late Miklós Boskovits, who brought a lifetime of expertise to this project and whose care and connoisseurship illuminate every page. Due to Miklós’s unexpected death we do not have the list of institutions and individuals he surely would have wished to thank; we would like to express our appreciation to those with whom he collaborated and corresponded for all they have added to this monumental achievement.
After Miklós’s passing, Laurence B. Kanter, chief curator of the Yale University Art Gallery and himself the author of more than one catalog of early Italian paintings, generously agreed to undertake the role of volume editor. In this capacity, he diligently ensured that Miklós’s voice and precise scholarship were preserved. He was supported by Daniela Parenti, director of the department of medieval and early Renaissance art at the Uffizi, who kindly undertook the task of reviewing a late version of the text. Sonia Chiodo, director, and her associates at the Corpus of Florentine Painting were also close colleagues of Miklós, and we thank them for their efforts as well. We are particularly grateful to Miklós’s widow, Serena Padovani, retired director of the Galleria Palatina and a scholar in her own right, who guided the manuscript to completion.
As always, we would like to extend our thanks to the Samuel H. Kress Foundation for its continuing commitment to the Gallery, its collections, and its work. We are especially grateful to Max Marmor, president of the Kress Foundation, and the Kress Board for their support. We also would like to thank The Andrew W. Mellon Foundation, which provided additional funding for the catalog through a special endowment for scholarly publications.
The efforts of the publishing office were vital to seeing this manuscript through to completion. From the death of the author, to the Gallery’s decision to publish both online and in print, to a collection whose very nature is more unique and complex than many, the editors and designers overcame many challenges. The content presented here is thanks to their efforts and we believe Miklós would be pleased. Associate curator of Italian paintings Gretchen Hirschauer and curatorial assistant David Essex maintained the project's momentum and ensured innumerable aspects of its quality through all the vicissitudes of its development. I extend warm thanks to Judy Metro, editor in chief, for her support and rigor; to Chris Vogel, deputy publisher; to Wendy Schleicher, design manager; John Long, print and digital production associate; and Katie Brennan, program assistant. We are also grateful to the former senior editors responsible for the initial phases of the catalog, Mary Yakush, Gail Spilsbury and Karen Sagstetter, ably assisted by Magda Nakassis. Sally Bourrie, senior editor, and Lisa Shea admirably carried the complex and demanding project to conclusion. Contributions by Research Associate Jason Di Resta were invaluable in confirming facts and ensuring that Miklós’s scholarship was presented accurately, and painting conservators Joanna Dunn and Elizabeth Walmsley, working closely with catalog authors, provided technical expertise, research, and critical context for the paintings.
David Alan Brown
August 26, 2015
National Gallery of Art
Earl A. Powell III, director
Franklin Kelly, deputy director and chief curator
Curatorial, Italian Paintings
David Alan Brown, Jason Di Resta, David Essex, Gretchen Hirschauer, Diana Mellon
Sally Bourrie, Katie Brennan, John Long, Judy Metro, Magda Nakassis, Karen Sagstetter, Sara Sanders-Buell, Wendy Schleicher, Mariah Shay, Lisa Shea, Gail Spilsbury, Chris Vogel, Caitlyn Woolsey, Mary Yakush
Joanna Dunn, Sarah Fisher, Jay Krueger, Douglas Lachance, Merv Richard, Elizabeth Walmsley
Curatorial, Northern Baroque Paintings
Curatorial Records and Files
Anne Halpern, Nancy Yeide
Center for Advanced Study in the Visual Arts
Peter Dueker, Lorene Emerson, Lee Ewing, Katherine Mayo, Alan Newman, Greg Williams, Barbara Wood
Frank Adams, Jesse Clark, Elizabeth Concha, Robert Cwiok, Susan Finkel, Lehua Fisher, Michelle Fondas, Joan Ganzevoort, Douglas Jackson, Andrew Krieger, Goven Martinez, Johnnie Mizell, Carson Murdach, Dan Randall, Pierre Richard, Mike Russell, Lewis Schlitt, Dan Shay, David Smith, Gary Webber, William Whitaker
Scientific Research Department
Barbara Berrie, John Delaney, Michael Palmer
Secretary and General Counsel
Nancy Breuer, Elizabeth Croog, Hilary Evans, Isabelle Raval
Charles Alers, David Beaudet, Katherine Blackwell, Susan Farr, Andrey Forostovsky, Vadim Gulyakin, Vladimir Morozov, Yuriy Rastorguev, Linda Stone, Laszlo Zeke
Carolyn Campbell, John Gordy
National Gallery of Art Library
Charlotte DonVito, Lamia Doumato, Andrea Gibbs, John Hagood, Faye Karas, Missy Lemke, Yuri Long, Rodrick McElveen, Thomas McGill, Gregory Most, Jacqueline Protka, Neal Turtell
Beyond the Gallery
Carla Brenner (overviews author)
David Bull (conservation)
Laura Glassman (proofreader)
Harvard University Center for Italian Renaissance Studies at Berenson’s Villa I Tatti, Florence
Patricia Inglis / Inglis Design
Kunsthistorisches Institut, Florence
Alberto Lenza (typist)
Dave Luljak (indexer)
Judith Sacks (copy editor)
Peter Spring (translation)
Martha Vaughan (reconstruction illustrations)