capture, document, curate your research
and contribute to a more coherent understanding of
an artist’s vision and creative legacy
Control over information is critically important 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 and tax advisors, and all those who have a stake in the industry.
The design challenge for panOpticon is not to simply control the self-organizing process, as some tools attempt to do, but to facilitate the emergence of higher-level outcomes e.g., more coherent understanding, accountability, access control, communication, and exchange of information.
“ . . . their system is amazingly comprehensive. We would not have been able to create this catalogue at all without the help of panOpticon.”
Principal and Co-Owner, Mitchell-Innes & Nash, New York
The Paintings, Watercolors and Drawings of Paul Cezanne: An online catalogue raisonné under the direction of Walter Feilchenfeldt, Jayne Warman and David Nash
accurate information is vital to the security
and the sustainability of an artist’s legacy
Reliable information about artworks and their histories may be published, it can be used to create educational resources and interactive displays, it is indispensable when organizing exhibitions, it is of great help to working artists who are promoting themselves, and it is an essential ingredient in the production of an authoritative catalogue raisonné. *
panOpticon software powers these catalogues [partial list] –
Thomas Hart Benton
George Caleb Bingham
Walter De Maria
John F. Folinsbee
Fitz Henry Lane
John Singer Sargent
John Henry Twachtman
Louis Van Lint
Michael (Corinne) West
panOpticon powers the catalogues raisonnés on these websites —
|* Note: It takes more than a great management system to produce catalogues raisonnés —
“…they exist at the intersection of the scholarly, legal and collecting art worlds.”
— IFAR (International Foundation for Art Research)
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 promise not to share your email address.
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).