ABSTRACT Title of Dissertation / Thesis: “LIVING ON PAPER ...

My time at the Smithsonian Institution began when I worked for 12 years at the
National Portrait Gallery starting in 1989, and the relationships forged during those years
have continued to benefit me during my graduate work. My fellow members of the
Departments of Prints and Drawings and of Photographs encouraged my studies in every
way both before and after I left the Department. Wendy Wick Reaves, Curator of Prints
and Drawings, urged me to return to graduate school and stood behind me while I took
classes. Others who have always been in my corner are Ann Shumard, LuLen Walker,
Marie Louise “Pie” Friendly, Mary Panzer, my fellow University of Maryland graduate
student Kimberlee Staking, Jennifer O’Keefe, Amy Baskette, Eowyn McHenry, Frank
Goodyear, and my successor as Assistant Curator of Prints and Drawings, Anne Collins
Goodyear. I have benefited from the friendship and graphic art wisdom of Conservation
department members Rosemary Fallon, Emily Jacobson, and Ed Myers. My mentors in
other departments have included Ellen Miles, Brandon Brame Fortune, Fred Voss, Amy
Henderson, Linda Thrift, and Patricia Svoboda. There is not space to properly thank all
of my other Portrait Gallery colleagues, but I owe a great deal to all of them.
Other Smithsonian museums and agencies have also contributed much to my
work on my dissertation. At the Smithsonian American Art Museum, Denise Wamaling
and Lynn Putney have helpfully pulled art for me. Conservators Fern Bleckner and
Catherine Maynor helped me with their museum’s Georgia O’Keeffe pastel and other
graphic art technical questions. In the Smithsonian American Art Museum and National
Portrait Gallery Library, I depended upon Cecilia Chin, Patricia Lynagh, Stephanie
Moye, Barbara Insidioso, Jesse Foley, Alice Clarke, and Glenn Juchno. At the Archives
v