ACKNOWLEDGMENTS THE OPPORTUNITY TO WORK SO CLOSELY Banks, Alexandra Gerstein, Emma Hayes, and with such beautiful and provocative Jonathan Vickers helped enormously, and at the works of art as the oil sketches by Tiepolo Getty, I must single out Cherie Chen, Catherine in this exhibition has been a real highlight of my Comeau, Lorraine Forrest, Sally Hibbard, Quincy experience at the Getty This project, moreover, Houghton, and Amber Keller for making the brought me in contact with many gifted col- exhibition happen. Reid Hoffman and Silvina leagues both here in Los Angeles and in London, Niepomniszcze developed a stylish, nimble instal- an equally great pleasure. lation befitting Tiepolo, which Bruce Metro's An exhibition and catalogue such as this one team ably installed. Finally, I would like to could not have happened without the collabora- offer special thanks to Mari-Tere Alvarez in the tion of many willing partners. I am especially Education Department, whose counsel shaped grateful to the Courtauld Institute of Art, under this exhibition, catalogue, and related programs. the direction of Deborah Swallow, who encour- It has been a particular joy to work with aged the project so warmly, and it has been won- Getty Publications on this book. Mark Greenberg, derful to work with such a committed and capable Christopher Hudson, and Kara Kirk all played group. Chief among them has been Chief Curator key roles in bringing this catalogue together, Ernst Vegelin van Claerbergen, who has shep- and I would especially like to thank John Harris herded and warmly supported this project from for his patience and deft touch in guiding me the very beginning, kindly opening the Courtauld's through my first publication at the Getty. Kathleen storage vault as well as the curatorial and con- Preciado gave careful attention to bibliographic servation files, answering a constant stream of matters, for which I am grateful, and Cecily inquiries, and offering me continuous encour- Gardner performed the important task of assem- agement. I would also like to offer special thanks bling the illustrations. For creating a beautiful to the former director, James Cuno, whose volume so in tune with the brio of Tiepolo, exhortation to produce a meaningful catalogue as I thank Jeffrey Cohen and Suzanne Watson. a testament to the seriousness of the collabora- Andria Derstein, Christopher Drew tion between the Getty and the Courtauld came Armstrong, and Linda Borean graciously shared at exactly the right moment in the project. aspects of their forthcoming research, and I am At the Getty, I am grateful to the Museum's also grateful to Denise Allen, Julia Armstrong- former director, Deborah Gribbon, for her con- Totten, Joseph Baillio, Shelley Bennett, Keith stant support. William Griswold and Mikka Gee Christiansen, Jay Gam, Jean Linn, J. Patrice Conway spearheaded the collaboration with the Marandel, Melinda Me Curdy, Tanya Paul, Audrey Courtauld at this end, making the partnership Sands, Carol Togneri, Jennifer Vanim, Catherine possible, and Scott Schaefer offered the constant Whistler, and Betsy Wiesman. Finally, for their encouragement, perspective, and intellectual intellectual insights, practical advice, and neces- energy I needed for the endeavor. Mikka Gee sary encouragement, I extend heartfelt thanks Conway deserves special thanks for her consider- to Victoria C. Gardner Coates, Judith Dolkart, able skills in negotiating every complexity with Daniel McLean, and Anne Woollett. grace, dexterity, and aplomb. I have depended daily on a wide array of JON L. SEYDL colleagues at both institutions to realize this Assistant Curator of Paintings catalogue and exhibition. At the Courtauld, Julia J. Paul Getty Museum 7