traceable data make transferability
and sustained representation possible —
scholarship depends on reliable information



“Although we don’t plan to publish the David Smith catalogue 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.”

Susan Cooke
Associate Director
David Smith Catalogue Raisonné


Data curation is a way to collect, organize, validate and preserve data so that scholars can find new ways to address the research challenges that face the larger community.

  • 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 is 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“).



panOpticon powers the catalogues of these artists –

Bo Bartlett
Mary Bauermeister
Larry Bell
Thomas Hart Benton
David Byrd
Jan Brueghel
Peter Campus
Mary Cassatt
Paul Cézanne
Pietro Consagra
Walter De Maria
Edwin Dickinson
Arthur Dove
Lyonel Feininger
Friederich Gräsel
John F. Folinsbee
Sam Francis
Arshile Gorky
George Inness
Craig Kauffman
Irving Kriesberg
George Lambert
Fitz Henry Lane
Margaret Lefranc
Roy Lichtenstein
Willard Metcalf
László Moholy-Nagy
Alfred Munnings
Zoran Music (Zoran Mušič)
Ad Reinhardt
Kay Sage
John Singer Sargent
Eugen Schönebeck
Hassan Sharif
Philippe Smit
David Smith
Hugh Steers
Arthur Streeton
Tom Thomson
Joaquín Torres-García
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: David Smith Sculptures in the upper field, Bolton Landing, NY. Original photograph by David Smith, taken in Bolton Landing, 1961. © Estate of David Smith/VAGA, NY.

Middle from left to right: John F. Folinsbee. Queensboro Bridge, 1917, Private collection; John F. Folinsbee. Pont Neuf, 1926–29, Private collection; John F. Folinsbee Lehigh Canal, 1924–25, Palmer Museum of Art, Pennsylvania State University, Gift of Lee and Barbara Maimon.

Bottom from left to right: Tom Thomson. Burned Over Land, Spring 1916. McMichael Canadian Art Collection, Kleinburg (1966.16.66); Tom Thomson. Northern Lights, Spring 1917. Oil on wood. National Gallery of Canada, Ottawa (4677r); Tom Thomson. Tea Lake Dam, Spring 1917 Oil on wood panel. McMichael Canadian Art Collection, Kleinburg (1970.1.4)