cataloging tools

Craig Kauffman Uses Our Tools


Tom Thomson. Woodland Interior-Fall, 1914

The Craig Kauffman catalogue raisonné project uses panOpticon tools

Craig Kauffman (1932-2010) was an artist internationally recognized for his sensuous use of color and new materials. Often cited as a seminal figure in the Los Angeles art world during the 1950s and 1960s, Kauffman rose to the attention of critics and collectors with his first major one-man show of paintings at Felix Landau Gallery in 1953. His exhibitions at the legendary Ferus gallery, from 1958 through 1967, inspired the clean, cool abstraction that defines the period in modern art from Los Angeles.

However, it was Kauffman’s paintings on the substrate of acrylic plastic that gained him international attention and fame. After an initial group of works with flat plastic, Kauffman discovered the industrial process of vacuum forming, and proceeded to translate his sensuous forms to wall reliefs, painted on the reverse with sprayed acrylic lacquer.

Kauffman traveled and lived in Paris and New York during subsequent years, and also taught painting at the University of California from 1967 to the early 1990s. Eventually, he took up residence in the Philippines, where he continued to work in a home and studio that he designed until his passing in May of 2010. His work is in the collections of over 25 museums worldwide.

We at panOpticon are pleased that the Estate of Craig Kauffman chose our innovative content management system for this important undertaking.

Above left: Craig Kauffman in 1998. Photo: Rob Gauthier, Los Angeles Times.

Above right: Craig Kauffman, Untitled Wall Relief, 1967–2008. Acrylic lacquer on vacuum-formed plastic. 52 x 72 x 15 inches. Photo courtesy the Estate of Craig Kauffman.

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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.

Tom Thomson Launched


Tom Thomson. Woodland Interior-Fall, 1914

Tom Thomson Catalogue Raisonné Uses panOpticon Tools

“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

Above: Tom Thomson. Woodland Interior-Fall. Fall 1914. Oil on composite wood-pulp board. 8 9/16 x 10 9/16 in. (21.7 x 26.9 cm). Thomson Collection @ Art Gallery of Ontario.

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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.

Lyonel Feininger Uses Our Tools


Portrait of Lyonel Feininger 1932

The Lyonel Feininger Project Puts panOpticon to Good Use

The Lyonel Feininger Project LLC, established in 1985 by Achim Moeller, is in the process of preparing the Catalogue Raisonné of Paintings by Lyonel Feininger (1871–1956). The completed catalogue will be made available online in 2016 on the occasion of the 145th anniversary of the artist’s birth and the 60th anniversary of his death. With its in-depth provenance, literature and exhibition information, the Catalogue Raisonné will provide an extensive resource on the life and work of Lyonel Feininger.

The Lyonel Feininger Project also maintains the archive of watercolors, drawings, and prints by the artist. All works determined to be authentic are certified and recorded with individual numbers in the archive.

For more information on the Catalogue Raisonné, or to submit works for authentication, please visit The Lyonel Feininger Project website at www.feiningerproject.org or contact Achim Moeller, Editor of the Catalogue Raisonné and Managing Principal of The Lyonel Feininger Project, or Sebastian Ehlert, Project Manager, at mail@feiningerproject.org. All information will be kept strictly confidential.

We at panOpticon are pleased that the Lyonel Feininger Project chose our innovative content management system for this most important undertaking.

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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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.

Torres-García Catalogue Launched


Arthur Dove, Plant Forms, 1911–12

Joaquín Torres-García Online Catalogue – a First

The Joaquín Torres-García Catalogue Raisonné is the first online scholarly resource dedicated to the paintings and sculptures of the Uruguayan modernist artist (1874–1949). 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.

The website provides a comprehensive experience of the artist’s works, exhibitions and publications, as well as a chronology of his life and career—all liberally illustrated and linked to new digital images and related documentary materials. All the published materials in this online catalogue are free and accessible to anyone who registers.

The Joaquín Torres-García Catalogue Raisonné represents the culmination of over forty years of study led by Cecilia de Torres. Investigation about the artist remains ongoing, and is regularly reviewed and updated as research continues.

The website was designed by panOpticon who worked closely with the authors. 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.

Above: 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.

Philippe Smit Uses Our Tools


Luxembourg Garden with the Towers of Saint-Sulpice in the Background

the Philippe Smit Catalogue Raisonné Project
joins the growing number who are using panOpticon tools
to manage their catalogue content

Philippe Smit (1887–1948) was born at Zwole in the Netherlands. His father was Dutch and his mother French. His culture was essentially French, and though his life was marked by frequent visits to Holland and the United States and also Spain, he never really felt happy except when close to Fontainebleau and its forest.

Smit’s paintings remain independent of the movements which agitated the first half of the 20th century. If symbolism inspired his first works, he allowed the free expression of his desire to unite real life with dreams. The landscapes and the bouquets he painted reflect his love of nature, which truly fascinated him. His works are inspired by the writings of Swedenborg, by poets (Baudelaire, Rollinat), and by musicians (Chopin, Debussy).

Scheduled to be published in 2016, the Philippe Smit catalogue raisonné is a project of the Philippe Smit Endowment Fund (Fonds de dotation Philippe Smit), Paris. Information about the painter’s life and work, as well as information on the catalogue project is available at www.philippesmit.com.

We at panOpticon are pleased that the Philippe Smit Catalogue Raisonné Project chose our content management system.

Above: Jardin du Luxembourg avec les tours de Saint-Sulpice en arrière-plan | Luxembourg Garden with the Towers of Saint-Sulpice in the Background (detail), n.d. Pastel sur carton | Pastel on cardboard, 25 x 32.5 cm (9 7/8 x 12 13/16 in). Photo: Studio Sebert/Paris.

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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. And, thanks to our unique user interface, you can manage and publish everything yourself.

Whether you are an individual starting a catalogue from scratch, or an institution looking for a more robust product for your current data, we have a software package that will meet your needs.

The best way to understand what our tools can do is to see them at work — 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.

Lane Website Receives NEA


Arthur Dove, Plant Forms, 1911–12

Fitz Henry Lane Online Catalogue Receives Grant from the NEA

The Cape Ann Museum in Gloucester, Massachusetts is among the 2014 Grant recipients recently announced by the National Endowment for the Arts. The Museum is receiving funds

“to support development of the website, Fitz Henry Lane Online. This free and interactive searchable database will center on the paintings of 19th Century American painter Fitz Henry Lane (1804–65). Using the art objects as its foundation, the website will enable the viewer to explore the social, commercial, maritime, and artistic history of mid-19th Century New England by bringing together rare documents, high-quality images, and links to external resources from the collections of several different institutions.”

This important website is also receiving generous support from the Andrew and Betsy Wyeth Foundation for American Art.

panOpticon is proudly designing and building the Fitz Henry Lane website.

Learn more about the project.

Above: Fitz Henry Lane, Gloucester Harbor at Sunrise (detail), c.1850, oil on canvas,
Cape Ann Museum, Gloucester, Mass., Gift of Judge Lawrence Brooks, 1970

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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.

Arthur Dove Uses Our Tools


Arthur Dove, Plant Forms, 1911–12

the Arthur Dove Catalogue Raisonné Project
joins the growing number who are using panOpticon tools
to manage their catalogue content

Arthur Dove (1880–1946) is often considered the first American abstract painter. He exhibited his works at Stieglitz’s 291 gallery in 1910 as part of the show “Younger American Painters.” The show, which included a group of Dove’s pastels that came to be known as “The Ten Commandments,” was the first public exhibition of abstract art by an American. In the two years after meeting Stieglitz, Dove became a leader in international art developments. From 1912 to 1946 Dove showed his work annually at Stieglitz’s galleries: 291, Intimate Gallery, and An American Place.

The Arthur Dove Catalogue Raisonné Project is under the direction of Debra Bricker Balken for the Estate of Arthur Dove.

We at panOpticon are extremely proud that the Arthur Dove Catalogue Raisonné Project chose our content management system.

Above: Plant Forms. 1911–12. Pastel on canvas. 17 1/4 x 23 7/8 in. (43.8 x 60.6 cm). Whitney Museum of American Art, New York. Gift of Mr. and Mrs. Roy R. Neuberger (51.20). © Estate of Arthur Dove.

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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. And, thanks to our unique user interface, you can manage and publish everything yourself.

Whether you are an individual starting a catalogue from scratch, or an institution looking for a more robust product for your current data, we have a software package that will meet your needs.

The best way to understand what our tools can do is to see them at work — 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.

A Beautiful Partnership


AIC Chicago 1918–19

John Folinsbee Considered
a new book reveals much about an under-appreciated artist
while it neatly ties together print and digital technologies

Folinsbee Considered is a hefty, 322 page, 10 x 12 inch volume, brimming with new color photographs—many are lush, full-page, larger than life-size details. Handsomely designed in bright red cloth, a self-portrait of the painter on the cover looking at us with characteristic confidence, the results are a vital testament to the continued life of the art book.

In addition to nine chapters of extensively researched and hitherto unavailable information about the life and work of John F. Folinsbee, the book contains a 56-page, densely packed Catalogue of Selected Landscape and Genre Paintings. The book’s author, Kirsten M. Jensen writes: “Each entry contains comprehensive information up to the time this book went to press, including provenance records, bibliographic citations, and exhibition histories . . .” She further points out:

“Those who wish to study paintings from a particular year or years intensively, or who want to see juvenilia, portraits, and works on paper, should consult the online Catalogue Raisonné (johnfolinsbee.org), which is continually updated to reflect new research on particular works and periods in Folinsbee’s career.”

As hefty as this book is, Ms. Jensen lets us know that we are in store for even more on the website. We are able to search the works online by themes and subjects, as well as find related works, preliminary sketches, and notebooks, none of which are included in the book. And this is just the beginning.

The book’s comprehensive Exhibition History 1912–2012 and substantial Literature section also have online counterparts.

“The Exhibition History is designed to be used in conjunction with the individual records in the Selected Catalogue as well as the entire known oeuvre as presented on the catalogue raisonné website . . . . The catalogue raisonné website gives the user the opportunity to see an exhibition as it was arranged at the time (if exhibition catalogue numbers are available) by selecting the Gallery View option from the Exhibition Index. Exhibitions are also hyper-linked, enabling a user to move back and forth between individual records and the Exhibition Index pages.”

By generating finished, accurate files for print during its production, the same online database that powers the Folinsbee website made the catalogue sections of this superb book possible.

We at panOpticon wish to congratulate Kirsten and the John F. Folinsbee Art Trust on the publication of Folinsbee Considered (Hudson Hills Press, 2013). We are also extremely proud that our content management system is at the heart of the John F. Folinsbee Catalogue Raisonné.

Above: Folinsbee’s Queensboro Bridge (far left) and Approaching Dusk (far right), in the galleries at the Art Institute of Chicago, photographed in 1918. Click the photo above to see the works in the exhibition online.

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Whether you are an individual starting a catalogue from scratch, or an institution looking for a more robust product for your current data, we have a software package that will meet your needs.

The best way to understand what our tools can do is to see them at work — 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.

George Inness Uses Our Tools


George Inness, Passing Clouds, 1876

the George Inness Catalogue Raisonné Project joins
the growing number who are using pan
Opticon tools
to manage their catalogue content

George Inness (1825-1894), the foremost American landscape painter of his generation, was ever open to new stylistic directions, as he sought to express his understanding of the divine in nature. He initially found a higher style in Old Master paintings, then settled into the Hudson River School manner, before seeking other sources of a more powerful style and technique. In his later work he expressed an emotional and spiritual response to nature through bravura technique, or through pictorial order.

To supplement the printed book George Inness: A Catalogue Raisonné (Rutgers University Press, 2007), the panOpticon cataloguing tool will be used to record works by Inness that have come to light since the book was in final manuscript. A future website will present those additional works and highlight recent Inness scholarship.

We at panOpticon are extremely proud that the George Inness Catalogue Raisonné Project chose our content management system.

Above: Passing Clouds, 1876. Oil on canvas, 20 x 30 inches (50.8 x 76.2 cm). Private collection.

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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. And, thanks to our unique user interface, you can manage and publish everything yourself.

Whether you are an individual starting a catalogue from scratch, or an institution looking for a more robust product for your current data, we have a software package that will meet your needs.

The best way to understand what our tools can do is to see them at work — 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.

Cézanne Catalogue in ARTnews


Kay Sage, I Have No Shadow (detail), 1940

“Online is the way to go,” say the producers of the
Paul Cézanne Catalogue Raisonné

“David Nash’s brainchild, about eight years ago, was to publish Cézanne’s paintings in color,” explains catalogue raisonné co-author Jayne Warman. “So he started to gather images from wherever he could get them, and he had planned to publish a picture book, as far as I could tell. Then Walter [Feilchenfeldt] and I became involved and convinced him that, really, online is the way to go.” Nash adds, “The advantages of doing it as a website were so immediately apparent.”

These and other observations from the producers of the Paul Cézanne Catalogue Raisonné can be found in the March issue of ARTnews.[1] The article enumerates more than a few good reasons to publish a catalogue such as this one online, not the least of which is perpetual timeliness. “Any catalogue raisonné in book form is out of date the moment it is published, because there is always nearly immediately new information available,” says Feilchenfeldt. “The big advantage is that a catalogue online can be constantly upgraded.”

Read the article online.

We at panOpticon are extremely proud that our content management system is at the heart of the Paul Cézanne Catalogue Raisonné and that they have commissioned us to build the online site.

[1] Trent Morse. “Cézanne in Cyberspace.” ARTnews (March 2014), pp. 48–49.

Above: Cézanne’s The Aqueduct at Écluse, 1890–94 (left), was renamed The Burned-Out Mill at Charentonneau when the site, seen in an old postcard on the right, was recently rediscovered.

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Whether you are an individual starting a catalogue from scratch, or an institution looking for a more robust product for your current data, we have a software package that will meet your needs.

The best way to understand what our tools can do is to see them at work — 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.