The authors of this website, identified under Contributors, have worked long and hard to bring it to fruition, with the help of many people at Emory University who have graciously lent encouragement and assistance. It all began with Kim Collins, the art history specialist in the Woodruff Library, who alerted Dr. Merrill to this resource; Ms. Collins also conducted a workshop on ways to navigate the physical and virtual resources offered by our university, and produced an invaluable research guide highlighting materials and databases of particular relevance to our project. We are also grateful to Heather Julien, coordinator of Emory’s Domain of One’s Own, who has been an enthusiastic supporter of this project from the start; and to her generous colleague in the Emory Writing Program, David Morgen, who not only offered us practical instruction in a new technology but also solved our little problems along the way.

The wonderfully accommodating staff at the Stuart A. Rose Library,  welcomed our class on several occasions. We are particularly grateful to Gabriel Dudley for making the necessary arrangements, and to Heather Oswald and Courtney E. Chartier for facilitating the production of digitized images of the photogravures. Melanie Kowalski, Copyright and Scholarly Communications Librarian, taught us what we needed to know about using period materials on the site, and skillfully settled our many qualms about copyright. Megan Siemons, GIS Librarian, worked with us to master Neatline so that we could map the artists’ studios, an essential feature of our site. Donna Troka, associate director of the Center for Faculty Development and Excellence, provided a model for our project with one of her own, and generously talked us through the inevitable Omeka impasses. Hannah Rose Blakely, a gifted Emory alumna, also offered an example for us to follow with the Omeka site she developed for the Michael C. Carlos Museum on the Belgian artist Félicien Rops.

We extend our sincere gratitude to the National Gallery of Art for providing high-resolution images of the four photogravures that are missing from the Rose Library portfolio, together with digital scans of the biographical text pages. For this essential contribution, we are indebted to Andrew Thomas, Image Specialist for American and British Art in the Department of Image Collections, and Gregory P. J. Most, Chief, Library Image Collections.

My personal thanks go to the nine curious, diligent, and dedicated students of ARTHIST 480, who have been a joy to work with, and from whom I have learned so much.

Linda Merrill, Emory University


December 2016