Skip to Content

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

Publishing Office

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

Henriette Rahusen

Curatorial Records and Files

Anne Halpern, Nancy Yeide

Center for Advanced Study in the Visual Arts

Elizabeth Cropper

Imaging Services

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 

Technology Solutions

Charles Alers, David Beaudet, Katherine Blackwell, Susan Farr, Andrey Forostovsky, Vadim Gulyakin, Vladimir Morozov, Yuriy Rastorguev, Linda Stone, Laszlo Zeke

Web Production

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)

Lorenzo Sbaraglio

Peter Spring (translation)

Martha Vaughan (reconstruction illustrations)