Elliot Bostwick Davis is a former curator at the Metropolitan Museum of Art, the John Moors Cabot Chair at the Museum of Fine Arts, Boston, and director of the Norton Museum. She has published extensively on American art, including Winslow Homer, Edward Hopper, Mary Cassatt, and Jamie Wyeth, as well as on African American artists.

"A lavishly produced catalogue, the text thoroughly researched and beautifully written by Elliot Bostwick Davis (a former head of American art at the Museum of Fine Arts, Boston). If you can’t go, the book will do nicely. But the show is worth traveling to see." —The Washington Post"This once-in-a-generation exhibition, and the accompanying 224-page catalog being published by Rizzoli Electa, are curated by nationally recognized curator and former museum director Elliot Bostwick Davis, PhD. 'Despite painting in Gloucester in 1912 and in Maine for six more summers, Hopper initially struggled to find a distinctive artistic voice,' writes Davis. 'Hopper understood that Gloucester, familiar from his earlier trip in 1912, was perhaps his last chance to make a name for himself as a painter at the age of 41. By 1923, he was supporting himself as an illustrator and etcher; his only painting sale had occurred over a decade earlier.'" —AUCTION CENTRAL NEWS

Elliot Bostwick Davis is a former curator at the Metropolitan Museum of Art, the John Moors Cabot Chair at the Museum of Fine Arts, Boston, and director of the Norton Museum. She has published extensively on American art, including Winslow Homer, Edward Hopper, Mary Cassatt, and Jamie Wyeth, as well as on African American artists.

"A lavishly produced catalogue, the text thoroughly researched and beautifully written by Elliot Bostwick Davis (a former head of American art at the Museum of Fine Arts, Boston). If you can’t go, the book will do nicely. But the show is worth traveling to see." —The Washington Post"This once-in-a-generation exhibition, and the accompanying 224-page catalog being published by Rizzoli Electa, are curated by nationally recognized curator and former museum director Elliot Bostwick Davis, PhD. 'Despite painting in Gloucester in 1912 and in Maine for six more summers, Hopper initially struggled to find a distinctive artistic voice,' writes Davis. 'Hopper understood that Gloucester, familiar from his earlier trip in 1912, was perhaps his last chance to make a name for himself as a painter at the age of 41. By 1923, he was supporting himself as an illustrator and etcher; his only painting sale had occurred over a decade earlier.'" —AUCTION CENTRAL NEWS

Elliot Bostwick Davis is a former curator at the Metropolitan Museum of Art, the John Moors Cabot Chair at the Museum of Fine Arts, Boston, and director of the Norton Museum. She has published extensively on American art, including Winslow Homer, Edward Hopper, Mary Cassatt, and Jamie Wyeth, as well as on African American artists.

"A lavishly produced catalogue, the text thoroughly researched and beautifully written by Elliot Bostwick Davis (a former head of American art at the Museum of Fine Arts, Boston). If you can’t go, the book will do nicely. But the show is worth traveling to see." —The Washington Post"This once-in-a-generation exhibition, and the accompanying 224-page catalog being published by Rizzoli Electa, are curated by nationally recognized curator and former museum director Elliot Bostwick Davis, PhD. 'Despite painting in Gloucester in 1912 and in Maine for six more summers, Hopper initially struggled to find a distinctive artistic voice,' writes Davis. 'Hopper understood that Gloucester, familiar from his earlier trip in 1912, was perhaps his last chance to make a name for himself as a painter at the age of 41. By 1923, he was supporting himself as an illustrator and etcher; his only painting sale had occurred over a decade earlier.'" —AUCTION CENTRAL NEWS