9 Acknowledgements The research that forms the basis of this book was undertaken with a three-year doctoral scholarship from the Arts and Humanities Re- search Board, and its publication subsequently made possible by a post-doctoral fellowship from the Henry Moore Foundation. I am sincerely grateful to both of these institutions, their directors and staff, for a degree of support without which this project would certainly not have been impossible. Earlier versions, or parts, of Chapters 3, 4 and 6 appear in the Subject/Object: New Studies in Sculpture series, published by the Henry Moore Institute. 1 Both doctoral and post-doctoral work was undertaken at the Department of History of Art, University College London. For this author, as for many art historians in recent years, it was an academic home in the best sense of the word, and it is impossible to overstate the extent to which the culture of the department has influenced this book. It was a great place to work and it is in the spirit of time spent at UCL that I offer my sincere thanks to all the staff and students there, past and present, for maintaining something very special. I would like, in the first instance, to thank my thesis supervisors. Briony Fer was, and continues to be, an immense source of inspiration and encouragement, and Helen Weston contributed enormously to both my knowledge and enthusiasm for the history and art history of the French Revolution. It is in the nature of the History of Art...
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