A digital publication of this scale, which if published in printed form might run to over 600 pages, presents many challenges with many moving pieces at any given time. As a multidisciplinary project, it is fundamentally grounded in communication between all participants, a process that has certainly had its highs and lows, but which has coalesced a group of dedicated Newfields staff to rise to novel challenges. It is fair to say that we have all learned a lot! That knowledge will bear additional fruit when Newfields ventures to produce additional digital publications based on the knowledge gained building this one.
First and foremost, we would like to express our gratitude to our generous funders. Both the Allen Whitehill Clowes Charitable Foundation and The Clowes Fund have been active supporters of activities at the IMA at Newfields for many decades. Both have supported art historical research and scientific examination of art and have valued the discoveries made with great enthusiasm.
This catalogue would not have been realized without the dedication of many authors and contributors, whose areas of expertise are presented here. The hurdles posed by Covid-19, closing many archives and libraries in both the United States and Europe for extended periods of time, left many of them undaunted, as everyone learned to collaborate effectively with new digital platforms for sharing information. We owe a debt of gratitude to Ronda Kasl and Rebecca Long, former IMA curators of European art, who shepherded scholarly research on artworks in the Clowes Collection forward in the years prior to 2016. They established a standard of research and inquiry that this catalogue strives to further. Our colleague Kjell Wangensteen, associate curator of European art, brought his indefatigable curiosity about all things Clowes to bear, and penned an introductory essay for this catalogue, among other things. A heartfelt thanks must also go to librarians and archivists, both here at Newfields and throughout the world, who assisted our authors and contributors.
We are particularly thankful for the dedication of our conservation and science staff. The benefits of their knowledge and expertise greatly informs this publication. Special thanks are due to Roxane Sperber, Clowes associate conservator of paintings, who worked with our digital developers and designers to standardize the Technical Examination Reports presented here, making them as illustrative of implemented analysis as humanly possible.
An extra big thanks goes to our Newfields Lab team, whose collegiality, skillful expertise, and flexibility in developing the digital scaffolding for the project, as well as its design, was uncanny. The tireless efforts of Daniel Keller and Jill Dodge resound from each digital page of this catalogue. Because no catalogue devoted to the visual arts would be complete without comparative imagery, we are indebted to the dedicated efforts of Celina Wu, who procured the licensing of images, and Samantha McCain Veach, who prepared them for publication.
We would like to dedicate this catalogue to the memories of Dr. George Henry Alexander Clowes, Edith Whitehill Clowes, and their son Allen Whitehill Clowes, benefactors who built the Clowes Collection and planned its transfer to the Indianapolis Museum of Art. Their unstinting devotion to the arts in Indianapolis spanned decades. Without their dynamic leadership, philanthropy, and passion for collecting, this publication would have been a much slimmer volume indeed.
Dylan Remeš Jensen