Page 18 - Edo: Art in Japan, 1615–1868

A C K N O W L E D G M E N T S For his uncompromising support of this exhibition, I am eternally grateful to the director of the
National Gallery of Art, Earl A. Powell III, who not only offered me an unparalleled opportunity but
gave needed encouragement and advice during my four years of work on the exhibition. I am also
grateful to Alan Shestack, deputy director, who made available several key members of his staff.

Joseph J. Krakora, external affairs officer, has been my mentor every step of the way.
In the United States the exhibition has received the support of a stalwart band of scholars of
Japanese art and history. Heartfelt thanks are owed to our catalogue authors, who balanced demanding
professional schedules and the exigencies of writing for catalogue deadlines. They produced the illu-
minating collection of essays and narrative entries published here: John T. Carpenter, Hollis Goodall,
Victor Harris, Matthew McKelway, Herman Ooms, Nicole Coolidge Rousmaniere, Henry D. Smith II, 17
Sharon S.Takeda, and Melinda Takeuchi. Countless dedicated individuals, most of them at the Gallery,
labored to prepare the exhibition and catalogue for our public. Too numerous to name here, they
include, in alphabetical order, Gordon Anson, Susan M. Arensberg, Margaret Bauer, Tarn Curry Bryfogle,
Jennifer Bumba-Kongo, Diane Colaizzi, Patricia Draher, Linda Heinrich, Genevra Higginson, Carol Kelley,
Mika Koyano, Mark A. Leithauser, Sandy Masur, Joseph N. Newland, Michael Pierce, Mervin Richard,
Patricia O'Connell, Ann B. Robertson, Wendy Schleicher Smith, Frances P. Smyth, Nancy Starr, D. Dodge
Thompson, Takahide Tsuchiya, Chris Vogel, Mary Yakush, and Deborah Ziska.

Robert T. Singer