cataloging

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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Eugen Schönebeck + panOpticon


Moholy-Nagy

The Eugen Schönebeck Catalogue Raisonné Project Uses panOpticon Tools

Eugen Schönebeck occupies a crucial position in the trajectory of post-1945 art. He not only pioneered a unique manner of integrating historical content into his work but almost singularly reinvigorated the genre of portraiture in Germany. Schönebeck, who was born in 1936 in the outskirts of Dresden, began to draw at about thirteen years of age. In 1954 he received a scholarship to continue his training as a decorative wall painter at the Fachschule für Grafik, Druck und Werbung in Oberschöneweide in Berlin’s East sector. Convinced that he couldn’t develop his artistry further in East Germany, he successfully applied for admission to the Hochschule für Bildende Künste in West Berlin, where he began to take classes in October 1955. Two years later, his first mature drawings emerged. These Tachist-style works and those that followed during the next four years, retained figurative elements absent from the abstract paintings he was also making at the time. He also developed a close friendship and artistic coöperation with fellow student Georg Baselitz later leading to their two Pandemonium Manifestos (1961/62)

It was not until late in 1961, the year he graduated the Hochschule that Schönebeck decided in favor of a more figurative mode of working. At times strangely humorous, the subsequent drawings that flowed from his hand also abounded with a good dose of the grotesque. Later Schönebeck stated his primary aim had been “to try . . . to let a certain tenor rise to the surface . . . a consciousness of crisis, pervasive sadness, gruesomeness, and even perverseness that I found missing in the work of my colleagues.”

In 1964 Schönebeck broke through to a new monumental style of painting. That year he began to transform mass media photographs of politicians, poets, and artists who sympathized with vari­ants of socialism into quasi-religious emblems. These likenesses and the few large scale drawings that fo­lowed them attest to Schönebeck’s struggle to find a mid­dle way between art made for the cap­ital­ist mar­ket and work harnessed to polit­ical ends. Disinclined to turn his back on either of these aes­thetic traditions and unwill­ing to compromise the moralistic edge of his art, Schönebeck decided to stop painting in the 1970s. Nevertheless, since the early 1980s curators, aware of the significance of his work, have included his work in almost every important survey exhibition of post­war German art presented internationally. His art was ahead of its time, and its meaning continues to endure, especially for a younger generation of artists.

We at panOpticon are pleased that the Eugen Schönebeck Catalogue Raisonné Project, edited by Juerg Judin and Pay Matthis Karstens, chose our innovative content management system for this important undertaking. More information about the project and contact details can be found at eugenschoenebeck.org.

Above: Eugen Schönebeck, Baum (Tree), 1957, ink on paper, 5 3/8 x 8 3/8 inches. Photo courtesy, Galerie Judin, Berlin.

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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.

Moholy-Nagy Uses Our Tools


Moholy-Nagy

The László Moholy-Nagy catalogue raisonné project uses panOpticon tools

Hungarian born painter and photographer László Moholy-Nagy was appointed professor at the Bauhaus in Dessau in 1923, effectively moving it closer to its original aims as a school of design. In 1935 he emigrated to London, then went on to Chicago in 1937 where he founded the New Bauhaus. He was inspiring as a teacher, and continued to be a strong advocate for the integration of technology and industry with the visual arts. Moholy-Nagy became an American citizen shortly before his death in 1946.

The Moholy-Nagy Foundation was established in 2003 in direct response to the continued
interest in the life and works of this truly gifted and influential artist. One of the primary goals of the Foundation is to continue to produce a complete Catalogue Raisonné of the art of Moholy-Nagy and to continue to record and conserve works within the Estate’s collection, augment and catalogue the Foundation’s archive and library, and make the contents available to interested scholars. The goal is also to provide an interface between scholars and the public through exhibitions and an online presence.

We at panOpticon are extremely proud that the Moholy-Nagy catalogue raisonné project uses our content management system.

Above left: László Moholy-Nagy Lecturing at Mills College, 1940.

Above right: László Moholy-Nagy. Park scene in front of the Medicine and Public Health Pavilion, New York World’s Fair, 1939 or 1940, 1939–40. 35mm color transparency in PBK mount, exposure #27. 7/8 x 1 3/8 in. (2.4 x 3.6 cm). Mount: 2 x 2 in. (5.1 x 5.1 cm).

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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.

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.

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.

FHLane Project in NYTimes


Fitz Henry Lane, Portrait of the Bark

“Catalogues Raisonnés Go Digital” — the New York Times, August 14, 2015

[The full article by Eve M. Kahn appeared in print on August 14, 2015, under 'Antiques' in the Art & Design Section on page C24 of the New York edition of the Times with the headline: "For Fitz Henry Lane and Other 19th-Century Painters, Catalogues Raisonnés Go Digital."]

“New technology and fresh perspectives are jumpstarting efforts to assemble exhaustive lists of works by 19th-century American painters, sometimes in progress for decades. Next month a consortium of museums interested in the Massachusetts maritime painter Fitz Henry Lane (1804–65) will introduce a website, fitzhenrylaneonline.org, documenting about 320 paintings, drawings and prints at various institutions. Much of the material is being drawn from the Cape Ann Museum, in Mr. Lane’s hometown, Gloucester, Mass., and images on the website will be linked to infrared paint analyses, biographies of Mr. Lane’s clients, newspaper ads for his suppliers, maps of harbors where he sketched and portraits of owners of the ships moored there.

“Mr. Lane’s recently rediscovered tableau of an 1840s sailing ship, scheduled to be added to the site, will be offered for auction (with an estimate of $150,000 to $250,000) on Aug. 26 at James D. Julia in Fairfield, Me.

“The Lane consortium is working with panOpticon, a Manhattan supplier of technology for comprehensive artist databases, known in the trade as catalogues raisonnés. Roger Shepherd, the company’s founder, said that the sites can link artworks to diary entries, restorers’ reports, photos of gallery installations and collectors’ homes, descriptions of related works that have been destroyed and more.

“Crowdsourcing would bring in more data, and persistent errors could be corrected. (Mr. Lane, for instance, is often erroneously called Fitz Hugh Lane.) Past owners could be identified as they emerge, which is increasingly crucial in an art market riddled with forgeries.

“’You don’t want holes in your provenance,’ Mr. Shepherd said.”

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Above: Fitz Henry Lane. Portrait of the Bark “Mary.” Photo courtesy Christie’s and James D. Julia, Inc.

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.