publishing

Feininger Catalogue Launched


Portrait of Lyonel Feininger 1932

A new online Catalogue Raisonné pays tribute to Lyonel Feininger

Born in New York City in 1871, Lyonel Feininger moved to Berlin in 1887 where he studied at the Royal Academy of Arts. His paintings were included in the Salon des Indépendants in Paris in 1911, and the Erster Deutscher Herbstsalon in Berlin in 1913. In 1917 Galerie Der Sturm in Berlin mounted his first solo exhibition.

Walter Gropius appointed Feininger as one of the first masters at the Staatliches Bauhaus in Weimar in May 1919, where he served as master of form in the printing workshop from 1919 to 1925. His woodcut Cathedral was used to illustrate the cover of the Bauhaus Manifesto of 1919.

In 1931 Feininger retrospectives were held in Dresden, Essen, and at the Nationalgalerie in Berlin. Soon thereafter, the National Socialists declared his art “degenerate,” and in 1937 he moved back to his native New York where he continued to work until his death in 1956.

Lyonel Feininger: The Catalogue Raisonné of Paintings by Achim Moeller was officially launched June 15, 2018. This first installment includes the basic details of those paintings created between 1907 and 1918. The Catalogue also includes a chronology and an exhaustive list of exhibitions and publications pertaining to Feininger.

This beautiful online catalogue will continue to be updated on a regular basis—it is a work in progress. Additional, more extensive information related to individual paintings, including provenance, exhibition histories, and references in literature, is available upon request through the catalogue.

The overall look and typographic style of Lyonel Feininger: The Catalogue Raisonné of Paintings is the work of the French graphic designer Philippe Apeloig. A longstanding member of the Alliance Graphique Internationale, Apeloig has created the visual identities for numerous international art institutions, including the Direction des Musées de France, the Institut National d’Histoire de l’Art, and the Instituto Universitario di Architettura di Venezia.

In addition to The Catalogue Raisonné of Paintings, the Lyonel Feininger Project is currently preparing The Catalogue Raisonné of Drawings and Watercolors, by Achim Moeller and Sebastian Ehlert, and The Catalogue Raisonné of Graphic Works, by Sebastian Ehlert.

Above: Portrait of Lyonel Feininger, inscribed on verso: Taken in my studio at Dessau, in front of a painting on the easel, 1932.

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we are pleased that the Lyonel Feininger Project
chose panOpticon to power it’s online catalogue raisonné

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scholarship depends on good data

researchers curate data so that
scholars may address the challenges that face us all

The leading Tom Thomson scholar, Joan Murray was responsible for bringing the paintings of this visionary Canadian painter to world’s attention through a series of exhibitions and books, including a biography. She has prepared a full-scale catalogue raisonné of his work, a project which took her close to forty years. (read more about Joan)

“In 1970, I began this catalogue raisonné of Thomson’s work and I have continued it until 2009. As I worked, I became convinced that Thomson’s achievement had the almost too classic prerequisites of greatness: an indelible yet flexible visual style that extended the past, reflected its own time, and stayed fresh and relevant as it moved into the future. During these decades, I found that what I considered the value of his work changed for me. At times Thomson’s enormous gifts for colour and composition, bolstered by an underlying urgency, seemed most pertinent to the triumphant progress of Abstraction, and to Expressionism, as it once again became part of the stylistic mix of younger artists. Later, the life he lived in nature came to seem of importance: I noticed that many contemporary artists embraced the landscape almost as part of their calling.

“From 1970 on, I had the work of Thomson in private collections brought into the Art Gallery of Ontario to be photographed. In examining this material, and the Gallery collection of works by Thomson, I found myself fascinated with the inscriptions (often written by Dr. J.M. MacCallum, Thomson’s great patron and friend), on the backs of works and I began to believe they were important to the record. After I left the Gallery and became Director of The Robert McLaughlin Gallery in Oshawa from 1974 to 2000, and afterwards, I continued to record Thomson inscriptions and labels wherever I could, especially in works as they appeared at auction and in private collections. Even in 2009, incredibly it seemed to me, genuine Thomsons came my way to be recorded. Like every cataloguer who attempts omnipotence, the discovery of this work helped me realize my shortcomings. I would like to believe that I have included all the works by Tom Thomson that exist, but I realize that the field is open. New material will show up with time.”

Tom Thomson Catalogue Raisonné, Researched and written by Joan Murray

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Above: Tom Thomson
Round Lake, Mud Bay
Fall 1915
Alternate titles: Geese, Round Lake, Mud Bay
Oil on wood
8 7/16 x 10 5/16 in. (21.5 x 26.2 cm)
Inscription recto: l.r., Tom Thomson / 15 (incised) Inscription verso: u.l., in ink, by Mrs. Frank Cooper, Round Lake, Mud Bay / Painted as the First Flock of of [sic] / Geese flew back from the South [crossed out] North / Painting By The World’s Best Artist / Tom Thomson “1915″ He was Drowned at / Algonquin park July 8th 1916 [sic]; incised on frame (in 1970); Cat. 86; label, Art Gallery of Toronto, J.S. McLean
Art Gallery of Ontario, Toronto (L69.51)

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an amazing site – it takes a village


Fitz Henry Lane – Gloucester Harbor 1847 (detail)

An amazing website makes a significant contribution to the digital humanities

Fitz Henry Lane Online is a freely-accessible interactive and interdisciplinary online resource created by the Cape Ann Museum. The website is organized around a catalog of the paintings, drawings, and lithographs of nineteenth-century American painter Fitz Henry Lane (1804–1865). The Cape Ann Museum, located in Gloucester, Massachusetts (Lane’s birthplace and home for most of his life) has the world’s largest collection of Lane’s paintings, drawings, lithographs, and related archival material. The website is intended to provide information of interest to a broad audience, and to serve as a resource for study of Lane’s work. The website focuses on both the formal, aesthetic qualities and the historical context of Lane’s pictures.

“One of the advantages of an online resource is that new information can be added at any time. It is intended that this site will evolve as writers, historians, and art scholars pursue new research and use this site as a forum and important resource for the work of Fitz Henry Lane and the related art and history of mid-nineteenth-century New England.

“With funding from generous donors, early conservation and curatorial work by the Museum of Fine Arts, Boston, and conservation work donated by the Cleveland Museum of Art, the website now includes hundreds of high-resolution images, including details and conservation (infrared, x-ray, and magnified) images; provenance records; selected exhibition and literature histories; annotated entries for key works; and extensive historical materials related to the subjects of Lane’s pictures. This project could not have been launched without the tireless contributions of project and Cape Ann Museum staff and the wide circle of advisors and volunteers who have so generously devoted their time and expertise, for which we are ever grateful.”

Sam Holdsworth
Fitz Henry Lane Online Project Director
“About the Project” (see the full article with list of staff, sponsors, and donors)

 

“A sincere thanks for getting us to this milestone.
The site is amazing.”

Ronda Faloon
Director of the Cape Ann Museum, Gloucester, Massachusetts
Fitz Henry Lane: An online project under the direction of the Cape Ann Museum

 

Above : Fitz Henry Lane. Gloucester Harbor (detail),1847. Oil on canvas, 28 1/2 x 41 in. (71.8 x 104.1 cm). Signed and dated lower right: F H Lane, 1847 [could have been FHL originally]. Cape Ann Museum, Gloucester, Mass., Gift of Estate of Samuel H. Mansfield, 1949 (1332.20). Photo: Cape Ann Museum

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panOpticon is pleased to have worked so closely with everyone involved with this innovative project. And we feel especially privileged that our online platform powers such a remarkable site.

Starting a project of your own? Already have data and wondering what to do next? Simply have a question? Contact us.

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Philippe Smit Catalogue Launched


László Moholy-Nagy and Lucia Moholy Untitled 1925

The Complete Works of Philippe Smit Launched

Florence Castellani is co-author, with Andreas Narzt, of The Complete Works of Philippe Smit. The following remarks were made by Ms. Castellani at a reception hosted by Glencairn Museum, Bryn Athyn, Pennsylvania, on May 21, 2017. All those in attendance were there to celebrate the launch of this bilingual online catalogue raisonné.

Welcome ladies and gentlemen and distinguished guests to Glencairn Museum. We are happy to be hosted in this prestigious place for it was originally Raymond Pitcairn’s home and he was the dear brother of Theodore.

Theodore Pitcairn played such a major role in fostering Philippe Smit’s work. And today it is the same Pitcairn family who has so generously supported this project to bring Smit’s work to a larger audience.

It is at this point that I must declare a familial interest, for it was my aunt Marijke, who was Smit’s muse and it was her husband, Theodore Pitcairn, who became Smit’s patron. I grew up surrounded by Smit’s paintings and it is therefore with great pleasure that I am able to present the fruits of this project today.

Many decades ago I first discussed with my uncle Theodore the possibility of undertaking work to promote Smit’s paintings.

Unfortunately, although my uncle was a keen supporter of this idea, the momentum for the project lapsed with his death, and it was not until five years ago that the work was renewed in earnest.

Over the years, I often wondered why Smit’s works were not more widely known and for the longest time I remained eager to bring them to a broader audience and to ensure their future.

It was a fortunate meeting with the art historian Andreas Narzt, which made it possible for this project to be finally realized. Narzt agreed to undertake a crucial role in the project, becoming the director “scientifique” of the Catalogue Raisonné online.

But in order to publish the catalogue, it was first necessary to establish a comprehensive index of all of Smit’s works. As is so often the case with artistic works, it was not easy to establish the whereabouts of Smit’s paintings and the search has spanned not just years but also several countries, including the United States, the Netherlands, and France.

Today, after five years of work, I am pleased to announce the launch of the first free bilingual (French and English) Catalogue Raisonné online. We live now in a digital age, one that makes it possible to disseminate Smit’s work to a truly global audience. In this way, the scope of the project far exceeds what we could have imagined or hoped for so many years ago. In this way, the online catalogue is not only a testament to Smit’s work but also a tribute to his patron, Theodore Pitcairn.

Theodore Pitcairn’s generous patronage was a lifeline for Smit, sustaining him over so many years and allowing him to flourish as an artist, freed entirely from commercial constraints. And yet this artistic freedom also made Smit wholly indifferent to any need to find a larger audience. Smit’s concerns were artistic and religious, not worldly in nature. In hindsight, it is perhaps not a surprise that he was not more widely known in his lifetime. However, it would be a profound mistake to allow his work to remain overlooked.

Theodore would have loved nothing more than to bring Smit’s painting to the world and I am so happy that so many of his descendants’ children, grandchildren, relatives and friends in France and elsewhere have provided such generous support for this project.

Life has made a curious looping in the story of Philippe Smit. It was Theodore Pitcairn’s support that helped Smit to lead a tranquil life without the constant struggle to find favor with art dealers and exhibitors. And yet it was this same support that inadvertently helped obscure his possible fame. But, now with their gracious sponsorship of the Catalogue Raisonné, Theodore’s children and grandchildren, relatives and friends have helped to bring Smit’s work to the audience that it truly deserves.

Above: Philippe Smit. Castle la Roche Jagu, Brittany, 1933. Pen, black ink and watercolour on paper. 5 1/8 x 8 5/16 in. (13 x 21 cm), The Lord’s New Church, Bryn Athyn, PA. Photo: Christopher Burke Studios, NY; © FdDPS

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We at panOpticon are extremely proud that the Philippe Smit Catalogue Raisonné Project uses our unique information management system to power it’s online catalogue raisonné.

Starting a catalogue raisonné project? Already have data and wondering what to do next? Simply have a question? Email us at enquire@panopticondesign.net.

The best way to fully grasp what our product can do is to see it in action. Fill out a form to request a demonstration. We can come to you if you are in New York City. If not, we can demonstrate our software online. We’ll show it to you wherever you are.

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how to keep an artist’s work alive

Paul Cézanne in his studio at Les Lauves

how to keep an artist’s work alive?   — choose the right online tools now

The Artist Estate: A Handbook for Artists, Executors, and Heirs, is a must read for artists, their family members and their heirs, artist’s studio managers, artist’s estate executives, artist-endowed foundation managers and board members, gallerists, and gallery/artist liaison managers, service providers for artists’ estates, art lawyers & tax advisors, and all those who have a stake in the industry.

Edited by Loretta Würtenberger, co-founder of The Institute for Artists’ Estates in Berlin, this invaluable book offers “appropriate financial models, possible legal frameworks, as well as advice on how to properly handle the art market, museums, and academia.” A whole chapter entitled “How to Keep an Artist’s Work Alive?” is devoted to the catalogue raisonné enterprise.

Whether it provides an overview of the artist’s oeuvre in digital or print form, a catalogue raisonné establishes the fundamental categories of the art in the catalogue, as well as influences the way we discuss the art. Because it creates value, the originators and editors also carry a great ethical responsibility. In order to maintain the integrity of the artist and the authenticity of his or her work, the meticulous scholarly assessment must be carried out independent of any financial interests. “As a ‘register of reason,’ the work on the catalogue raisonné requires diligence more than intellectual brilliance,” remarks the art historian Anette Tietenberg, who works in Braunschweig. Yet the catalogue raisonné also requires more than organizational abilities, as it must harness “the power of facts to ensure its future relevance.”

Today, a catalogue raisonné should be digitized; it almost goes without saying that online databases can be expanded and updated easily. Moreover, the scope of the online catalogue raisonné should encompass the following:

1. Links to internal archival material
2. Links to documentation such as checklists and exhibition photographs
3. The integration of video and audio materials
4. The possibility of incorporating negative or inconclusive results, so that the limits of previous research are well understood
5. Links to external sources such as archival holdings and press articles or other publications, as well as public search engines and databases.

… it is also imperative to select a database that can be used internally, but also provides a module for web publishing. Among other things, this module then helps determine which sets of information developed for internal use should be published online and for whom. [The New York archivist Caroline] Gabrielli recommends asking at the outset: Who should have full access to the catalogue raisonne? Should access only be local or should it be published on the web? Does the technology allow necessary information to be linked? How much does this particular solution cost? Does it necessitate ongoing technical support, or must separate IT providers be brought on?

Now, take a look at the best example out there, bar none: The Paintings of Paul Cézanne: An online catalogue raisonné under the direction of Walter Feilchenfeldt, Jayne Warman and David Nash.

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Whether you are starting a catalogue raisonné from scratch, or looking for a more robust product for your current data, panOpticon has a package that will meet your exact needs.

   ”The Estate of David Smith is currently using panOpticon for our catalogue raisonné and archives databases and for more general inventory purposes.
“Although we don’t plan to publish the David Smith Sculpture catalogue raisonné online (it will be published as a three-volume book, by Yale University Press), we may decide post-publication to turn on the public-facing features of our panOpticon database in order to share updates and new finds.
“We’ve found panOpticon to be a remarkably good partner, working with us to migrate the data from our old system, and willing to add features and customize aspects of the basic panOpticon system so we could make it work well for our particular needs.”

 — Susan Cooke
Associate Director / The Estate of David Smith
David Smith Catalogue Raisonné

Contact us to schedule a demonstration.

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Above: Paul Cézanne in his studio at Les Lauves, in front of the Large Bathers now at the Barnes Foundation. Photo by Émile Bernard, 1904.

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NYARC reaches across the globe


archiving websites for research communities across the globe

NYARC (the New York Art Resources Consortium) unites the collections of the Frick Art Reference Library, the Brooklyn Museum Libraries & Archives, and the Museum of Modern Art Library. With funding from The Andrew W. Mellon Foundation, the Consortium was formed in 2006 to facilitate collaboration that results in enhanced resources to research communities.

Launched in 2009, ARCADE unites the collections of the three libraries under a single search. Containing more than 1 million records, ARCADE provides access to research collections spanning the spectrum of art history, from ancient Egypt to contemporary art. These resources, many uniquely held, include exhibition and art collection catalogs, monographs and periodicals, rare books, photograph collections, artists’ books, files on artists, auction catalogs, archives (textual and visual), digital resources and specialized databases.

ARCADE also links outside to The Metropolitan Museum of Art’s online catalog Watsonline, and to the International Art Discovery Group Catalogue.

A 2012 pilot study, also funded by The Mellon Foundation, demonstrated that the types of materials the NYARC libraries had been collecting in printed form were increasingly migrating to online versions available exclusively on the web. It concluded that there was an urgent need to document the dynamic web-based versions of auction catalogues, catalogues raisonnés, and scholarly research projects, as well as artist, gallery, and museum websites, because otherwise there is a real and imminent danger of a “digital black hole” in the art historical record.

panOpticon is proud to participate in this important documentation project. To date NYARC has archived six sites that use our software to power their catalogues raisonnés:

Paul Cézanne

Edwin Dickinson

John F. Folinsbee

Fitz Henry Lane

Joaquín Torres-Garcia

Jack Tworkov

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Whether you are starting a catalogue raisonné from scratch, or looking for a more robust product for your current data, panOpticon has a software package that will meet your needs. Contact us to schedule a demonstration.

Another Side of Lyonel Feininger


News Release: Lyonel Feininger’s Comic Strips Celebrated this Summer

NEW YORK – Moeller Fine Art Projects is pleased to announce “Pioneers of the Comic Strip: A Different Avant-Garde” at the Schirn Kunsthalle in Frankfurt am Main from June 23 to September 18, 2016. The exhibition will present approximately 230 pages of rare comic strips and related works, created between 1905 and the 1940s, by the early masters of comic strip art including Winsor McCay, Lyonel Feininger, Charles Forbell, Cliff Sterrett, George Herriman, and Frank King. The show intends to provide an overview of the stylistic developments within the medium, as well as to explore its relationship with the fine arts.

While the two series The Kin-der-Kids and Wee Willie Winkie’s World—which Lyonel Feininger (1871-1956) began in 1906 for The Chicago Sunday Tribune—were published for less than one year, they contributed a new artistic perspective. Feininger’s works will be prominently featured in the exhibition, including more than thirty works lent by Achim Moeller.

Alongside this exhibition, Moeller Fine Art Projects is also pleased to announce the publication of Your Uncle Feininger: Comic Strips for The Chicago Sunday Tribune (Kerber Verlag) by Achim Moeller and Sebastian Ehlert, designed by Philippe Apeloig and Yannick James. The book will include the complete run of Feininger’s comic strips for the first time together with previously unpublished preliminary drawings, as well as nature studies. Printed in German and English with a comprehensive introduction based on original sources and related newspaper articles, it will offer an in-depth look into the artist’s practice.

For further details, please contact The Lyonel Feininger Project or call (212) 644-2133.

Above: Lyonel Feininger, The Kin-der Kids in the Family Bathtub, 1906. Color crayons, ink, and pencil on paper,
9 3/8 x 17 5/16 in (23.8 x 44 cm)

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We at panOpticon are honored that Moeller Fine Art Projects uses our innovative software to manage the Lyonel Feininger catalogue raisonné.

Whether you are starting a catalogue from scratch, or looking for a more robust product for your current data, panOpticon has a software package that will meet your needs. Contact us to schedule a demonstration.

And check out our blog — catalog(ue) — a forum whose purpose is to help close the gap between traditional cataloging practices and the challenges we face when we use developing digital technologies to publish online.

Toys and Torres-García


toy elephant Joaquín Torres-García

News Release: Toys in the JTG Catalogue Raisonné

NEW YORK, NY — To celebrate the first anniversary of the launch of the Joaquín Torres-García Catalogue Raisonné, CECILIA DE TORRES LTD is pleased to announce that the artist’s toy production is now available online.

Combining play with pedagogy, Torres-García designed toys for children throughout much of his career. Over two hundred models ranging from locomotives to circus animals to a multi-figure café scene have been identified as belonging to his oeuvre.

The toys have been classified within the catalogue raisonné with a “T” number that reflects their period of production, such that works beginning with “T1.” date to the artist’s Barcelona years, c. 1917-1919; “T2.” date to his years in New York, c.1920-1922; “T3.” date to his period in Italy, c. 1924-1926; and “T4.” his years in Paris, c. 1927-1932.

When available, photographs of the toys positioned in multiple arrangements demonstrate their flexibility and interactivity. Supplemental diagrams, designed by Torres-García for the packaging of his toys, illustrate the various combinations that he envisioned, and are included within the catalogue raisonné records. Such characteristics reveal Torres-García’s aim for his toys as educational and developmental tools. Additionally, many of the toys are cross-referenced with catalogues, published and distributed by the toy companies Francisco Rambla (1919) and Aladdin (1922-1923).

As with the paintings and sculptures recorded in the catalogue raisonné, the provenance, exhibition history, and literature references are recorded for each toy, and further research remains ongoing. Research on the toy production has been led by Cecilia de Torres assisted by Madeline Murphy Turner, with Susanna V. Temkin.

In addition to the toys, in the one year that the catalogue raisonné has been available, research on the paintings and sculptures has remained ongoing. Numerous supplementary references have been added, including:

  • The identification of a new painting
  • Over one hundred new exhibition references
  • Approximately four hundred new literature sources
  • Thus far over 1,000 users have accessed the site, with new registrants added every day.

Access to the catalogue raisonné is free and available to the public at the website — Joaquín Torres-García Catalogue Raisonné

We continue to invite owners of works by Joaquín Torres-García to submit paintings and sculptures for inclusion in the catalogue raisonné of his oeuvre. Please contact info@torresgarcia.com

Fitz Henry Lane Launched


Fitz Henry Lane

News Release: Fitz Henry Lane Online

GLOUCESTER, MA – The Cape Ann Museum is pleased to announce the public launch of its
interactive website, Fitz Henry Lane Online, on February 15, 2016. Fitz Henry Lane (1804-1865) is regarded as one of the masters of 19th century American painting. This innovative online resource is comprised of several components including: a catalog of Lane’s paintings, drawings, and lithographs; an extensive database of historical information, images, and materials related to the subjects within Lane’s pictures; new scholarly essays; and a bibliography and archive of publications. The rich historical material is connected to the relevant paintings through easily clickable links. The 319 works currently on the site include all known Lane pictures in public collections. The Cape Ann Museum holds the single largest collection of Lane’s works, and the Museum hopes that this website will function as a central repository for information about Lane and a key resource for anyone (student, scholar, or museum visitor) interested in 19th century American art or history.

According to Project Director Sam Holdsworth:

A primary goal of the site is to highlight the marriage of Lane’s extraordinary attention to the details of the scenes he depicted with the formal aesthetics and sheer beauty of his artistic accomplishment. Almost every work tells a multi-layered story about the evolution of the maritime world of coastal New England as well as tracks his progression as an artist from the specific to the ephemeral as his work matured.

The project will continue to expand to include Lane paintings from private collections and additional scholarly essays and historical materials. Owners of Lane pictures, and individuals with information about Lane works, are encouraged to contact the project using the online form or completing the object information and submission agreement forms:
www.fitzhenrylaneonline.org/submission/

In conjunction with the website, the Museum is organizing a special exhibition of Lane’s lithographs featuring works from its permanent collection and those borrowed from other institutions. This wiil be the first time many of Lane’s lithographs will be shown together. Drawn on Stone: The Lithographs of Fitz Henry Lane will open on October 7, 2017 and run through March 4,2018. An illustrated catalog will accompany the exhibition and a symposium is scheduled for October 27-28, 2017.

The Cape Ann Museum, located in the heart of Gloucester, MA, celebrates the art, history and culture of Cape Ann—a region with a rich and varied culture of nationally significant historical,
industrial and artistic achievement. The Museum’s collections include fine art from the 19th century to the present, artifacts from the fishing & maritime and granite quarrying industries, textiles, furniture, a library/archives, and two historic houses. For more information visit:
www.capeannmuseum.org.

This project has been produced by the Cape Ann Museum with funds raised in its recent capital campaign and with major support provided by the Wyeth Foundation for American Art, the
National Endowment for the Arts, and the Institute ofMuseum and Library Services. Additional funding was received from the Danversbank Charitable Foundation and the John H. and H. Naomi Tomfohrde Foundation. The Cleveland Museum of Art contributed conservation studies
and the Museum of Fine Arts, Boston provided curatorial and conservation assistance.

The website design and database software are by panOpticon.

Above : Fitz Henry Lane, Gloucester Harbor from Rocky Neck, 1844. Oil on canvas 34 x 45 3/4 in. (86.4 x 116.2 cm) Signed and dated lower right: “F H Lane, 1844.” Cape Ann Museum, Gloucester, Mass., Gift of Mrs. Jane Parker Stacy (Mrs. George O. Stacy), 1948 (1289.1a)

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Joaquín Torres-García at MoMA


Construction in White and Black, 1938. Torres-García in his Montevideo studio, c.1939

Joaquín Torres-García: The Arcadian Modern

The Museum of Modern Art New York October 25, 2015 – February 15, 2016

This major retrospective of Joaquín Torres-García (Uruguayan, 1874–1949) features works ranging from the late 19th century to the 1940s, including drawings, paintings, objects, sculptures, and original artist notebooks and rare publications. The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist’s career, with emphasis on two key moments: the period from 1923 to 1933, when Torres-García participated in various European early modern avant-garde movements while establishing his own signature pictographic/Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Torres-García is one of the most complex and important artists of the first half of the 20th century, and his work opened up transformational paths for modern art on both sides of the Atlantic. His personal involvement with a significant number of early avant-garde movements—from Catalan Noucentismo to Cubism, Ultraism-Vibrationism, and Neo-Plasticism—makes him an unparalleled figure whose work is ripe for a fresh critical reappraisal in the U.S.

Find out more about this remarkable artist through the Joaquín Torres-García Catalogue Raisonné. Designed by panOpticon, the online catalogue represents the culmination of over forty years of study led by Cecilia de Torres. The visually stunning and fully integrated site includes innovative features such as links between the works, the collections, the exhibitions and the published references; advanced filtering and search capabilities; the capacity to look at the works in sizes relative one to the other; as well as the ability for the user to see early exhibitions virtually recreated. Gathered together for the first time, the information in this unique website affords scholars, collectors, and the general public never-before access to Torres-García’s expansive artistic production.

Watch MoMA’s press remarks “Joaquín Torres-Garcia: The Arcadian Modern” on youTube.

Above left: Joaquín Torres-García. Construction in White and Black. 1938. Oil on paper mounted on wood, 31 3/4 x 40 1/8″ (80.7 x 102 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros in honor of David Rockefeller. Photograph by Thomas Griesel. © Sucesión Joaquín Torres-García, Montevideo 2015

Above right: Joaquín Torres-García in his Montevideo studio, c.1939.

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panOpticon has developed innovative digital cataloging tools and a range of effective ways to make cultural content available for use online. Whether you are starting a catalogue from scratch, or looking for a more robust product for your current data, we have a software package that will meet your needs. Contact us to schedule a demonstration.

Check out our blog — catalog(ue) — a forum whose purpose is to help close the gap between traditional cataloging practices and the challenges we face when we use developing digital technologies to publish online.