This web site was produced to accompany the exhibition "Mondrian: The Transatlantic Paintings," organized by the Fogg Art Museum and the Straus Center for Conservation of the Harvard University Art Museums. Principal scholars and organizers for the project are Harry Cooper, associate curator of modern art, Fogg Art Museum, and Ron Spronk, associate curator for research, Straus Center for Conservation. The exhibition will be presented at the Harvard University Art Museums, Busch-Reisinger Museum (Cambridge, MA): April 28 – July 22, 2001; and the Dallas Museum of Art, August 19 – November 25, 2001. Concept: Ron Spronk, with Harry Cooper Design, production, and programming: studioROMA Image preparation: Ron Spronk, Robin Marlowe, Adam Kellie Production support: Adam Kellie Text editing: Carolann Barrett Technical examinations: Ron Spronk, Harry Cooper, Henry Lie, with many others Texts: Ron Spronk and Harry Cooper This exhibition has been made possible in part by a major grant from the National Endowment for the Arts, a federal agency, and by an indemnity from the Federal Council on the Arts and Humanities. Additional funding has been provided by Frances and John Bowes, the European Friends of the Busch-Reisinger Museum, Emily Rauh Pulitzer, Agnes Gund and Daniel Shapiro, and the Walter & Franziska Petschek Charitable Trust, in honor of Seymour Slive. Exhibition support in Dallas provided by the Dallas Museum of Art League. Universally consistent and predictable display of color is not yet a part of web technology. We have presented the best possible images given space and bandwidth constraints. Internet Explorer 5.0 (or newer) is the recommended browser for this site.
	Acknowledgments We are grateful for the direct participation of the following individuals: at the San Francisco Museum of Modern Art, Paula De Cristofaro, Will Shank, Gary Garrels, Lori Fogarty, and David Ross; at the Tate Gallery, Roy Perry, Patricia Smithen, Joyce Townsend, and Nicholas Serota; at the National Gallery of Canada, Marion Barclay, Brydon Smith, Charles Hupé, Mark Paradis, Norman Paul, and Pierre Théberge; at the Museum of Modern Art, Jim Coddington and Suzanne Siano; at the Kunstsammlung Nordrhein-Westfalen, Werner Müller and Armin Zweite; at the Munson Williams Proctor Institute Museum of Arts, Mary E. Murray; at the Saint Louis Art Museum, Paul Haner and Brent Benjamin; at the Kimbell Art Museum, Claire Barry, Michael Bodycomb, and Isabelle Tokumaru; at the Phillips Collection, Elizabeth Steele; at the Moderna Museet, Lars H. Byström; and at the Dallas Museum of Art, John Dennis and Dorothy Kosinski. For their scientific analysis of several paintings, our deep thanks to Eugene Farrell of the Harvard University Art Museums, Kate Helwig of the Canadian Conservation Institute in Ottawa, Chris McGlinchey of the Museum of Modern Art, Eugena Ordonez at Conservation of Paintings Ltd. in Santa Monica (formerly at the Museum of Modern Art), and Joyce Townsend at the Tate Gallery. We are equally grateful to J. R. J. van Asperen de Boer, professor emeritus at the Rijksuniversiteit Groningen, who made his paint samples and original research data available for this project, and to Joop Joosten, author of the catalogue raisonné of Mondrian's abstract work, who let us use his extensive archive, provided rare photographs, and answered many questions during the course of this project. We also thank James Bourdeau, Molly Faries, René de la Rie, and Isabelle Tokumaru for their answers to our many queries. Several of our colleagues at the Harvard University Art Museums were instrumental in the success of the project. James Cuno, director of the Art Museums, strongly supported the project from the outset. Henry Lie, director of the Straus Center for Conservation, participated in many of our examinations and lent invaluable technical assistance. Others include Rebecca Wright, who helped us obtain crucial financial support; Adam Kellie, whose enthusiastic assistance in image preparation and the organization of a vast amount of data was critical; Janet Mullen, the web master; Peter Siegel, who helped with many aspects of photography and digital imaging; Evelyn Rosenthal and Carolann Barrett, who edited the texts; and Jacqueline van Rhyn, Beth Ashley, and Nancy Hurley, who assisted with innumerable practical aspects of the project. At the Straus Center for Conservation we called upon the expertise of Gianfranco Pocobene, Philip Klausmeyer, Francesca Bewer, Teri Hensick, and Anthony Sigel. The text of the Career section was adapted from Harry Cooper's brochure for the Mondrian exhibition at the National Gallery of Art in 1995. Khylongla Rato, representing the estate of Charmion von Wiegand, generously allowed us to quote selections from Von Wiegand's journals.