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xi ACKNOWLEDGMENTS I first became interested in the relationship between visual representation and philosophy as an undergraduate, when I studied Hans Holbein the Younger’s sketches for Erasmus’s The Praise of Folly in a seminar taught by Christia Mercer, whom it gives me great pleasure to thank for being such an inspiring teacher. To Jean Michel Massing, my enormously generous PhD supervisor at the University of Cambridge, I owe perhaps the greatest debt; I am grateful to him for his continual encouragement, humor, and extraordinary erudition. During my doctoral studies, I learned a great deal from conversations with Giles Bergel, Paul Binski, Ann Blair, Lina Bolzoni, Laurence Brockliss, Charles Burnett, Victoria Camblin, Stephen J. Campbell, Mary Carruthers, Christophe Erismann, Mordechai Feingold, Roger Gaskell, the late Servus Gieben, Sara Matthews-­ Grieco, Hanneke Grootenboer, Anne Higonnet, Howard Hotson, Deborah Howard, Malcolm Jones, Sachiko Kusukawa, Matthew Leigh, Peter Mack, Ian Maclean, John Marenbon, Véronique Meyer, Pierre Moracchini, Shin Nomoto, Zac Rose, Alison Saunders, Alessandro Scafi, Benjamin Seidler, Fanny Singer, Paul Taylor, and Susan Weiss. I am also deeply grateful to Jacob Schmutz and Noël Sugimura for their involvement in this project and their serious and thoughtful advice. Thanks are due to Elizabeth McGrath and Berthold Kress for valuable suggestions on my dissertation. I thank Joshua S. Walden, who read multiple early draft chapters and supported this project from its earliest stages with great wisdom and generosity. Research for this study was conducted with the assistance of a Euretta J. Kellett Fellowship from Columbia University and a Lander Ph.D. Studentship in the History of Art from Pembroke College, Cambridge. I am grateful to these institutions, as well as to the Burlington Magazine Foundation, the Renaissance Society of America, the Huntington Library, the College Art Association, and St Anne’s College, University of Oxford for their financial support. A Samuel H. Kress Predoctoral Fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, also offered invaluable assistance. During my year in residence at the center, I had many helpful conversations about this research, and I am particularly grateful to Oskar Bätschmann, detail of figure 5 xii acknowledgments Jonathan Bober, Elizabeth Cropper, Anne Dunlop, Christine Göttler, Marius Hauknes, Estelle Lingo, Stuart Lingo, Peter Lukehart, Mark Salber Phillips, Claire Richter Sherman , and James Grantham Turner for their constructive criticism. My PhD examiners Jill Kraye and Alexander Marr deserve special mention for reading my dissertation so closely and for giving me such insightful advice on how to expand and revise it. Both read and commented on draft chapters of the present work as well, and I am extremely thankful for their useful responses at pivotal junctures. In transforming the dissertation into a book, I have drawn on the helpful suggestions of many scholars. During my time at the Princeton Society of Fellows, this research took new form. I am immensely grateful to Susan Stewart and Mary Harper for creating and supporting an ideal interdisciplinary community in which to test and develop new ideas and research questions. I learned a tremendous amount from all the postdoctoral and faculty fellows. I thank Larissa Brewer-­ Garcia, Scott Burnham, Andrew Hamilton, Christophe Litwin, Mira Siegelberg, and especially Jonny Thakkar for incisive comments and friendship. Joel B. Lande was an essential interlocutor as well and read multiple drafts of chapters in the manuscript; I am deeply grateful for his vital feedback. I was fortunate to be associated with the Princeton Department of Art & Archaeology, and thank Rachael DeLue and Michael Koortbojian in particular for helping me to reexamine and rearticulate my thoughts. One of the high points of my time at Princeton was a conference that I co-­ organized with Roger Ariew, Daniel Garber, Anthony Grafton, and Jenny Rampling: “Teaching Philosophy in the Seventeenth Century: Text and Image.” My heartfelt thanks go out to each of them, as well as to our speakers and audience members for the many productive conversations and friendships that grew out of the event. I am also grateful to Peter Parshall and Quentin Skinner for their support and for offering rigorous, kind, and helpful suggestions on chapter 5. For advice given to me while preparing this book, I thank Leonard Barkan, Daniela Bleichmar, Michael Cole, Bradin Cormack, Stephen Ferguson, David Freedberg, Molly Greene, Wendy Heller, Sukaina Hirji, Thomas DaCosta Kaufmann, Russ Leo, Noel Malcolm, Alison McQueen, Julie Mellby, Benjamin Morison, Steven Nadler, Alexander Nehamas, Dominik Perler, Eileen A. Reeves, Louise Rice, Volker...


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