A C K N O W L E D G M E N T S
nar to press. First, however, I would like to thank myeditorand good
friend Ken Wissoker, whose enthusiasm for and support of this book
the jackpot when I stumbled into an editor with whom I could talk
insightful suggestions for the manuscript’s revision.
This book began as my doctoral thesis at the University of Kansas’s
Kress Foundation Department of the History of Art, and although it
has been through myriad changes since I ﬁrst subjected it to the cruel
margin ruler of ku’s Graduate School secretary, even in this trans-
formed version it is indebted to the mentorship and patience of my
dissertation committee members: John Pultz, Ann Schoﬁeld, Marilyn
Stokstad, Patrick Frank, and especially Joanna Frueh, whose thought-
ful readings and criticism of each original chapter and whose love
and encouragement of my person immeasurably shaped this project.
The students and faculty at ku’s history of art, women’s studies, and