Paul Cézanne. La Montagne Sainte-Victoire vue de Montbriand,

with credible information scholars can address
the challenges that face the larger community


credible information about works of art and their histories may be published
as soon as it is ready for release

it may also be put to work in curating exhibitions
it makes possible the valuation of works of art
it plays a vital role in promoting an unknown or overlooked artist
it may be employed to create teaching tools and interactive displays
it is indispensable to the production of an authoritative catalogue raisonné
and it helps to preserve and protect the legacy of an artist


credible information is in constant demand for –

art experts and the courts
art insurance
auction sales
authority to sell (title)
bankruptcy, creditors’ rights, and security interests in works of art
catalogues raisonnés
collateralization of art
consignment agreements
copyrights in works of art and reproductions of works of art
cultural patrimony laws
curating exhibitions
customs service regulations concerning the import and export of art
defamation concerning works of art and their provenance
divorce and other family disputes
droit moral and the Visual Artists Rights Act
exhibition agreements
donor restrictions on use or display of donated works
import and export of art
International cultural treaties
Internet sites concerning art and art sales
investment management and financial planning
joint ownership of works of art
legal disputes over responsibility and ownership
loans for art buyers and dealers
loans and gifts of artwork to museums
looted and confiscated works of art from the Nazi era
lost and stolen works of art
misappropriation of artwork and design
Native American Graves Protection and Repatriation Act
private dealer sales
Presidential Commission on Holocaust Assets in the US


  • Our back-end is structured to deliver all the requisite core information linked together following cataloging best practices (see manage data). You can choose what to publish and how to display it, but the framework is there.
  • Many of our software’s extras (commentaries, keywords, archives and supplemental tables) let you create enriched add-ons (animated and interactive elements) that draw from deeper levels of the database.
  • Data are automatically formatted and styled by the system, so the transition to the web or print is flawless.
  • Your back-end is joined to your site, so you publish from your tool. You can compare your data to your site files. Publish and update your online publication whenever you wish.
  • Your content can also be purposed for print or ePublishing.

When you are ready to publish you’ll have several options (at extra cost to be negotiated):

We can design a site for you – the same knowledge we put into our cataloging software we put into our websites. You determine the look and the feel and decide on functionality.

Or, we can plug into your existing site – in which case we’ll work with your designer to “wrap” your catalogue.

Or, you can generate text files to incorporate into design for print—do an entire book.

Or, you can do both (see “A Beautiful Partnership“).


read about panOpticon in ARTnews and The New York Times



panOpticon powers the catalogues of these artists — (denotes a public website) —

Bo Bartlett
Antonio Amaral
Markos Armaos
Ruth Asawa
Bo Bartlett
Mary Bauermeister
Charles Beckendorf
Larry Bell
Thomas Hart Benton
Bernd Berner
Jan Brueghel
Pol Bury
David Byrd
Peter Campus
Mary Cassatt
Paul Cézanne *
Pietro Consagra
Walter De Maria
Edwin Dickinson *
Arthur Dove
Lyonel Feininger
John F. Folinsbee *
Sam Francis *
Arshile Gorky
Maro Gorky
Friederich Gräsel *
George Inness
Craig Kauffman
Irving Kriesberg
George Lambert
Fitz Henry Lane *
Margaret Lefranc
Roy Lichtenstein
Willard Metcalf
Amedeo Modigliani
László Moholy-Nagy
Alfred Munnings
Elizabeth Murray
Zoran Music (Zoran Mušič)
Sofia Portalaki
Ad Reinhardt
Kay Sage
John Singer Sargent
Eugen Schönebeck
Hassan Sharif
Philippe Smit *
David Smith
Hugh Steers
Arthur Streeton
Tom Thomson *
Joaquín Torres-García *
John Henry Twachtman
Jack Tworkov




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

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.

Please note: we are unable to quote prices until we’ve conferred with you about your particular needs.

In any case, let us know if you want to be on our mailing list. We won’t share your email address.


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Top of page: Paul Cézanne (1839-1906). La Montagne Sainte-Victoire vue de Montbriand, 1882–85.
Alternate titles: La Montagne Sainte-Victoire; La Montagne Sainte-Victoire vue au-dessus de Montbriand; La Montagne Sainte-Victoire vue de Bellevue; Landscape – Paysage du Midi; Mont Sainte-Victoire; Mont Sainte-Victoire and the Viaduct of the Arc River Valley; Montagne Sainte-Victoire Seen from Montbriand; Sainte Victoire
Alternate dates: Rewald: (511) 1882–85; Venturi: (452) 1885–87; Venturi revised: 1886–87; Ratcliffe: after 1885
Oil on canvas
25 13/16 x 32 3/16 in. (65.5 x 81.7 cm)
Vollard A stockbook: no. 3753, huile; aqueduc avec au fond Ste. Victoire; à gauche massif de pins, au milieu pin parasol, 65 x 81 cm (250 frs)
The Metropolitan Museum of Art, New York (H.O. Havemeyer Collection, Bequest of Mrs. H.O. Havemeyer).

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.