Edward Hopper's Maine could not have happened without the unstinting support, confidence, and generosity of the Whitney Museum of American Art, from whom more than half of the objects in this exhibition have been lent. Above all, we would like to thank Adam D. Weinberg, Alice Pratt Brown Director; Donna De Salvo, chief curator and associate director for programs; Barbara Haskell and Carter E. Foster, curators; Carol Mancusi-Ungaro, associate director for conservation and research; Barbi Spieler, senior registrar; Matt Heffernan, assistant registrar; Kristen N. Leipert, assistant archivist; and Anita Duquette, indefatigable head of rights and reproductions.
Many other lenders responded generously to our loan requests. Securing so many of Hopper's works for this exhibition was a vote of confidence in the Bowdoin College Museum of Art, for which we are extremely grateful. We are especially appreciative that so many museums and private collectors agreed to lend their light-sensitive watercolors, always a difficult decision. In addition to the institutional lenders, Kathy and Bruce Hornsby and two private collectors who wish to remain anonymous also lent to the exhibition. We are indebted to the following for their invaluable assistance: Terry Oldham and Megan Benitz, Albrecht-Kemper Museum of Art, St. Joseph, Missouri; Lynn Zelevansky, Louise Lippincott, and Allison Revello, Carnegie Museum of Art, Pittsburgh; David Franklin, Heather Lemonedes, and Jon Seydl, Cleveland Museum of Art; Christopher Brownawell, Michael K. Komanecky, and Angela Waldron, Farnsworth Art Museum, Rockland, Maine; Peter R. Timms and Kristina L. Durocher, Fitchburg Art Museum, Massachusetts; James Mundy, Patricia Phagan, and Joann Potter, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York; Thomas W. Lentz, Stephan Wolohojian, William W. Robinson, Theodore E. Stebbins Jr., and Francine Flynn, Harvard Art Museums, Cambridge, Massachusetts; Franklin W. Robinson, Nancy E. Green, and Matthew J. Conway, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York; Michael E. Shapiro, David Breeneman, Stephanie Heydt, and Paula Haymon, High Museum of Art, Atlanta; Thomas P. Campbell, Gary Tinterow, and Emily Foss, Metropolitan Museum of Art, New York; Lora Urbanelli, Gail Stavitsky, and Renée M. Powley, Montclair Art Museum, New Jersey; Mark M. Johnson, Margaret Lynn Ausfeld, and Pam Bransford, Montgomery Museum of Fine Arts, Alabama; Daniel O'Leary, Paul Schweizer, Mary Murray, and Lorelei Eurto, Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, New York; Malcolm Rogers, Cliff Ackley, Stephanie Stepanek, and Kim Pashko, Museum of Fine Arts, Boston; Glenn D. Lowry, Connie Butler, Christian Rattemeyer, and Whitney Snyder, Museum of Modern Art, New York; Anthony Gardner, Margaret O'Reilly, and Jenny Martin-Wicoff, New Jersey State Museum, Trenton; Timothy Rub, Alice Beamesderfer, Innis Howe Shoemaker, Shelley Langdale, and Shannon Schuler, Philadelphia Museum of Art; Mark H. C. Bessire, Thomas Denenberg, Lauren Silverson, and Erin Damon, Portland Museum of Art, Maine; James Steward, Laura Giles, and Alexis Hughes, Princeton University Art Museum, New Jersey; Brent R. Benjamin, Andrew Walker, and Diane Mallow, Saint Louis Art Museum, Missouri; Stephanie A. Stebich, Margaret Bullock, and Jessica Wilks, Tacoma Art Museum, Washington; Susan L. Talbott, Linda Roth, Erin Monroe, and Mary Herbert-Busick, Wadsworth Atheneum, Hartford, Connecticut; and Jock Reynolds, Suzanne Boorsch, Lisa Hodermarsky, and L. Lynne Addison, Yale University Art Gallery, New Haven, Connecticut.
Catalogue authors Carter E. Foster, Vincent Katz, Steve Martin, Carol Troyen, and Diana Tuite contributed rich and engaging essays that explore Hopper's Maine oeuvre through a range of approaches. Working with Mary DelMonico of DelMonico Books•Prestel was a joy, indeed a privilege. Karen Farquhar kept the catalogue on track with gentle but unswerving force, attending to every detail. Miko McGinty, with Rita Jules, designed, as always, the perfect book, both elegant and restrained. Dale Tucker edited the catalogue, under pressure, with great care and thoughtfulness. I would also like to take the opportunity to thank Steve Martin's assistant, Ilene Waterstone; Nina del Rio and Jason Herrick at Sotheby's, New York; Eric Widing and Allison Whiting at Christie's, New York; and Jennifer Pye at the Monhegan Museum.
The Bowdoin College Museum of Art is fortunate to have an extraordinary staff of consummate professionals, each of whom seems to do the work of ten. Registrar and collections manager Laura Latman maintained order and discipline throughout this complex project, and assistant registrar Michelle Henning worked tirelessly — heroically, even — to secure images and rights and reproductions for the catalogue's many illustrations; both demonstrated the highest standards of their profession. Diana Tuite, Andrew W. Mellon Curatorial Fellow, was an essential part of this exhibition and its catalogue at every step, ensuring, as a result, their success and professionalism. I would also like to thank Suzanne Bergeron, assistant director for operations, Kate Herlihy, curatorial assistant, José Ribas, chief preparator, and Jo Hluska, assistant preparator, all of whom worked unflaggingly to make this project the best it could be. The talents and work of other staff members — including Eric Anderson, Victoria Baldwin-Wilson, James Higginbotham, Joachim Homann, Liza Nelson, and Michael Perkins and his officers — are essential to our every undertaking. halley k. harrisburg, Bowdoin College class of 1990, also lent important support to the exhibition. At Bowdoin College, I owe a sincere debt of gratitude to Barry Mills, president, and Cristle Collins Judd, dean for academic affairs, whose support for and unrelenting faith in Edward Hopper's Maine were a constant source of strength. Margaret Broaddus, senior leadership gifts officer and museum liaison, is a partner in all that we do, and for whom mere thanks are insufficient. Marianne Jordan and Cara Martin-Tetrault, in corporate and foundation relations, helped secure significant funding for the exhibition. Ann Ostwald, director of academic budget and operations, Catherine Longley, senior vice president and treasurer, and Meg Hart, assistant to the treasurer, were also essential participants. Scott Hood, vice president for communications and public affairs, lent his professional expertise at every stage. Finally, I would like to extend my sincere appreciation to Alex Katz, who kindly agreed early on to design the exhibition's installation at the Bowdoin College Museum of Art. His intuitive understanding of and sensitivity to Hopper's work and to Maine created the perfect environment for a profound appreciation of this extraordinary body of underappreciated work.
Director, Bowdoin College Museum of Art