Legacy

Arshile Gorky CR launched

Eastman Johnson


THE ARSHILE GORKY CATALOGUE RAISONNÉ IS LAUNCHED

The Arshile Gorky Foundation initiated a comprehensive catalogue raisonné of Gorky’s paintings, drawings, prints, sculpture, and textiles in December 2006, based on Robert Goldwater’s and Jim M. Jordan’s The Paintings of Arshile Gorky: A Critical Catalogue (1982), and Melvin P. Lader’s research for a catalogue raisonné of the artist’s drawings, begun in the early 1990s, yet left incomplete with his untimely death in 2005.

In 2019, under the direction of Eileen Costello, a newly formed project team set out to update, advance, and supplement the existing documentation so as to provide a thorough, accurate, and authoritative description and history of every known work made by Arshile Gorky from 1924 through 1948, the year of his death. The majority of these paintings, drawings, prints, sculpture, and textiles will be represented by high-resolution digital photography—many of them for the first time.

The Arshile Gorky Foundation is pleased to announce that the first installment of the Catalogue Raisonné is now available to the public at no charge and from any location as a web-based publication designed by panOpticon. The Arshile Gorky Catalogue Raisonné is the most definitive record of the artist’s production and will be an invaluable resource for scholars, historians, museums, galleries, and others interested in the artist’s work.

If you own a work by Arshile Gorky and have not been contacted by the Foundation, we continue to review submissions. Please visit the Artwork Submissions page for more details.

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Above:
P242
Arshile Gorky
(Mojave)
1941–42
Oil on Canvas
28 7/8 x 40 5/8 in. (73.3 x 103.2 cm)
Front, incised, upper left: A Gorky / [paraph]
Reverse not seen
Los Angeles County Museum of Art. Gift of Burt Kleiner (M.64.61)

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J. H. Twachtman CR launched

Eastman Johnson


THE JOHN HENRY TWACHTMAN CATALOGUE RAISONNÉ IS LAUNCHED

“A prominent figure in late nineteenth-century American art, and considered the most original among the leading American Impressionists, John Henry Twachtman (1853–1902) lived from 1890 to 1899 in Greenwich, Connecticut, where he created the images of his home and property that are his best-known works. During the same period, and through the end of his life, the nearby Holley inn in Cos Cob, was also of special importance to him. There he taught summer art classes (often alongside Julian Alden Weir) and resided intermittently, painting many scenes from its porches and grounds. Twachtman’s presence and classes in Greenwich and Cos Cob served as the starting point for the vital art colony that developed in the area and continued into the first quarter of the twentieth century.

“Today, the Holley inn is the National Historic Landmark Bush-Holley House, part of the Greenwich Historical Society’s museum-campus. Our collections and archives pertaining to Greenwich document and interpret the history of the Cos Cob art colony that grew up around the house. It is, therefore, with great pleasure that the Historical Society is now the repository for the John Henry Twachtman Catalogue Raisonné, a comprehensive record of the artist’s work that can be accessed for free from our website. This immeasurable contribution to American art history (as well as to our local history) was compiled by Dr. Lisa N. Peters. The project was initiated in the late 1980s by Ira Spanierman (1928–2019), under the auspices of Spanierman Gallery, with Dr. Peters as its author, and the catalogue was transferred to her in 2012. We are honored to be its new home. With support especially from the Horowitz Foundation for the Arts as well as from the Cross Family Charitable Fund and the Lunder Foundation, this considerable undertaking has now come to fruition. We are excited that the wealth of information and new material it provides can be enjoyed and become integral to American art scholarship.”

— Debra Mecky, Executive Director and CEO, Greenwich Historical Society

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Above:
OP.1111
John Henry Twachtman
Icebound
Alternate titles: Ice Bound; Snow Bound; Snow-bound; Snowbound; Snowbound [Icebound]
ca. 1893
Oil on canvas
25 1/4 x 30 1/8 in. (64.1 x 76.5 cm)
Signed lower right: J. H. Twachtman–
The Art Institute of Chicago, Friends of American Art Collection (1917.200)

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Eastman Johnson CR launched

Eastman Johnson

A website that reveals a variety of perspectives on a seminal figure in American art
THE EASTMAN JOHNSON CATALOGUE RAISONNÉ IS LAUNCHED

Founded and directed by Dr. Patricia Hills, project managed by Abigael MacGibeny, and stewarded by the National Academy of Design in New York, the Eastman Johnson Catalogue Raisonné (EJCR) is based on Dr. Hills’s decades-long research on Johnson’s artwork, which dates to the 1972 monographic exhibition of his work at the Whitney Museum of American Art.

The result of Dr. Hills’s lifelong research on Eastman Johnson (1824–1906), the Catalogue Raisonné provides open access to the artist’s nearly 1,500 works for scholars, students, and art lovers across the globe.

The EJCR website provides primary information on paintings by Johnson, and will subsequently incorporate his drawings and prints. According to Dr. Hills, “This information will not only aid in the connoisseurship of Johnson’s art, but will provide a multifaceted lens for examining the history of American art.” More than 900 of Johnson’s paintings are organized thematically and catalogued with their titles, dates, mediums, dimensions, inscriptions, current owners, provenance, exhibition history, and bibliography. Many of the entries also feature quotes from historical sources, remarks by Dr. Hills and Ms. MacGibeny that provide insight into the works, and Dr. Hills’s examination notes and opinion letters.

The  website offers a comprehensive view of the works of Johnson and a unique insight into the cultural topics and historical events that inform, and are informed by, his art. In addition to providing primary data on the artist’s known artworks, the site will explore Johnson’s relevance today through essays on the representations of First Peoples; the visual culture of the Civil War; images of Black Americans that reject stereotypes; the agrarian communal ideal; and depictions of women suggesting rich interior lives.

The National Academy of Design is the long-term steward of the EJCR, managing future updates and keeping it available to the public in perpetuity. The Eastman Johnson Catalogue Raisonné has been made possible with support from Boston University, the Wyeth Foundation for American Art, the Fenimore Art Museum in Cooperstown, the National Academy of Design, and the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts. Private collectors also have been generous contributors to the Eastman Johnson Catalogue Raisonné Endowment Fund. The EJCR website was developed by panOpticon, whose specialized catalogue raisonné platform enables the digital collection and presentation of this rich content.

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Above:
Eastman Johnson
(American, 1824-1906)
The Sketch Book
1859–60
Oil on canvas
12 1/4 x 15 1/4 in. (31.1 x 38.7 cm)
Collection of the National Academy of Design, New York
National Academy of Design, New York, Bequest of James A. Suydam, 1865 (670-P)

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the visual diary of a full life revealed

The Fissure (Driving to San Andreas) 1982

the Margaret Lefranc Catalogue Raisonné is now live online

Margaret Lefranc (1907-1998) was an exceptionally talented artist whose career as a painter, illustrator, and editor spanned more than 85 years. Born in Brooklyn, New York, she created her first works of art at the age of six. Lefranc lived in Berlin with her parents from 1920 to 1922 and then in Paris during the decade between 1923 and 1933, where she studied art at the Sorbonne, the Académie André Lhote, and the Académie de la Grande Chaumière. In 1935, two years after her return to the US, she founded the Guild Art Gallery in New York City. The gallery promoted several important artists; Arshile Gorky, for example, held his first New York solo exhibition there. Between 1948 and 1953, she illustrated five books for the anthropologist Alice Marriott, most notably Maria: The Potter of San Ildefonso, which received a Fifty Best Books of the Year award in 1948 from the Library of Congress (in conjunction with the American Institute of Graphic Arts).

Lefranc created portraits, landscapes, still lives, and abstract works in a variety of styles and media throughout the course of her “lifetime of imaging.” Her diverse oeuvre —a visual diary of sorts— traces her travels and the places that she called home, whether that be the Catskill Mountains, Coconut Grove, Florida, or the adobe home that she built in Nambe, New Mexico. This first installment of the online catalogue raisonné includes over 200 paintings by Lefranc that reside in the collection of the Margaret Lefranc Art Foundation. The remaining paintings — held in private and public collections (or works that are currently un-located) — will be addressed in updates to the website. Future installments will feature specific selections from Lefranc’s large body of works on paper, such as preparatory drawings, the landscapes of New Mexico and New York, book illustrations, and abstract monotypes to name a few. A chronology is also planned.

– Sandra McKenzie     President, Margaret Lefranc Art Foundation
– Melissa Kerr               Editor, Margaret Lefranc catalogue raisonné

 

Above:
Margaret Lefranc
The Fissure (Driving to San Andreas)
1982
Acrylic on canvas
24 x 36 in. (61 x 91.4 cm)
Signed lower right (in the 1990s): M. Lefranc
Margaret Lefranc Art Foundation

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we are pleased that the Margaret Lefranc Catalogue Raisonné project
chose panOpticon to power its online catalogue

Cezanne Online

Paul Cézanne. La Montagne Sainte-Victoire vue du chemin de Valcros,

All the known works of Paul Cezanne together at last in one place — online

The Paintings, Watercolors and Drawings of Paul Cezanne: An online catalogue raisonné under the direction of Walter Feilchenfeldt, Jayne Warman and David Nash was officially launched in November 2014.

Two of the catalogue’s three authors, Jayne Warman and Walter Feilchenfeldt, worked with John Rewald on the 1996 print version of the catalogue raisonné. But, it was co-author David Nash’s innovative idea ten years ago to re-publish all the works in color. His initial idea of producing a printed full-color supplement to the print catalogue rapidly gave way to the more ambitious project of updating and revising the Rewald Catalogue and putting all the new research online.

The online catalogue, designed by panOpticon, evolved into a full, comprehensive online experience that benefits students, scholars, curators, collectors, galleries, and auction houses as well as anyone who wants to learn more about one of the most revered and influential artists of the late 19th and early 20th centuries.

Above: Paul Cézanne. La Montagne Sainte-Victoire vue du chemin de Valcros, 1878–79, oil on canvas, Pushkin Museum, Moscow.

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we are pleased that the Paul Cezanne Catalogue Raisonné project
chose panOpticon to power its online catalogue

19th century life in living color

Boatmen on the Missouri 1846

the George Caleb Bingham Catalogue Raisonné is launched

“George Caleb Bingham (1811-1879) is recognized today as one of the most important 19th century American artists. He is distinguished among the first generation of painters of the early American West for his classic narrative scenes drawn from his actual observation and experience.

“The primary goal of this project is to strengthen public and scholarly access to Bingham’s authenticated paintings and to ensure the lasting heritage of Missouri’s greatest 19th century artist, an artist who holds a high place among the pantheon of America’s enduring Old Masters. Each of Bingham’s nearly 600 paintings will be documented by a high-resolution color photograph, combined with each painting’s physical description, provenance, history of exhibitions, and full bibliography; and in the case of his many portraits, biographical and genealogical data will be included. Image-wise, this is a significant improvement in presentation over the predominantly black & white reproductions in the previously published 1986 edition.

“This new online Catalogue Raisonné builds on and reproduces, and in some cases updates and revises, the masterful scholarship developed over four decades by Professor of Art History E. Maurice Bloch (1925-1989). The Paintings of George Caleb Bingham: A Catalogue Raisonné, published in 1986 by University of Missouri Press. Since 2005, under the direction of distinguished art historian and Bingham scholar, Fred R. Kline, and supported by an advisory board of scholars, some 30 previously unknown and unnoticed paintings have been added to Bingham’s works—including many new discoveries, notably his first river-themed painting from 1841, Baiting the Hook. As Bingham did not sign most of his paintings, it is expected that future works will rise to the surface and be identified and added to this catalogue.

“This project is undertaken by the Riverbank Foundation, a 501(c)(3) organization created specifically to undertake the new Bingham Catalogue Raisonné and other future projects dealing with American art and art history.”

Above:
George Caleb Bingham
Boatmen on the Missouri
Oil on canvas
1846
25 x 30 in. (63.5 x 76.2 cm)
Fine Arts Museums of San Francisco – The de Young Museum

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we are pleased that the George Caleb Bingham Catalogue Raisonné project
has chosen panOpticon to power its online catalogue

the ‘Painter of the National Parks’

Gunnar Widforss, Desert Vista, n.d.

Gunnar Widforss Catalogue Raisonné Launched

“Although Gunnar Widforss (1879–1934) was known as the ‘Painter of the National Parks’ in the United States in the 1920s and 1930s, very little art-historical writing or scholarship has been focused on the artist. His extraordinary paintings of western national parks in the United States and scenes of European and Swedish landscapes have suffered from decades of obscurity following his death in 1934. Throughout his career (1904–1934), Widforss swam against the powerful tide of modernism as tastes in art focused on the European avant-garde. His first significant exhibition in Stockholm in 1913, featuring landscape scenes of southern France and Capri, took place shortly after Picasso and Braque’s early period of experimental Cubism peaked, and it coincided with the intense artistic dialogue spawned by the 1913 Armory Show in New York.

“The Museum of Northern Arizona, located in Flagstaff, Arizona, currently has the largest collection of Widforss paintings, drawings, and related archival material, with twenty-two works of art in the fine art collection. The Museum’s relationship with the artist dates back to the late 1920s.

“The catalogue raisonné is a comprehensive catalogue of all of Widforss’ work known at this time. At the date of publication (September 2020), the catalogue includes over 1,200 works from private and public collections, and many for which the present location is unknown. As research continues, works will be added and information updated.”

Above:
Gunnar Widforss, Desert Vistan.d.
Watercolor
13 1/4 x 20 3/4 in. (33.7 x 52.7 cm)
Signed lower left: Widforss
Northern Arizona University Art Museum, Flagstaff, Arizona

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we are pleased that the Gunnar Widforss Catalogue Raisonné project
has chosen panOpticon to power its online catalogue

Feininger Catalogue Launched

Portrait of Lyonel Feininger 1932

A new online Catalogue Raisonné pays tribute to Lyonel Feininger

Born in New York City in 1871, Lyonel Feininger moved to Berlin in 1887 where he studied at the Royal Academy of Arts. His paintings were included in the Salon des Indépendants in Paris in 1911, and the Erster Deutscher Herbstsalon in Berlin in 1913. In 1917 Galerie Der Sturm in Berlin mounted his first solo exhibition.

Walter Gropius appointed Feininger as one of the first masters at the Staatliches Bauhaus in Weimar in May 1919, where he served as master of form in the printing workshop from 1919 to 1925. His woodcut Cathedral was used to illustrate the cover of the Bauhaus Manifesto of 1919.

In 1931 Feininger retrospectives were held in Dresden, Essen, and at the Nationalgalerie in Berlin. Soon thereafter, the National Socialists declared his art “degenerate,” and in 1937 he moved back to his native New York where he continued to work until his death in 1956.

Lyonel Feininger: The Catalogue Raisonné of Paintings by Achim Moeller was officially launched June 15, 2018. This first installment includes the basic details of those paintings created between 1907 and 1918. The Catalogue also includes a chronology and an exhaustive list of exhibitions and publications pertaining to Feininger.

This beautiful online catalogue will continue to be updated on a regular basis—it is a work in progress. Additional, more extensive information related to individual paintings, including provenance, exhibition histories, and references in literature, is available upon request through the catalogue.

The overall look and typographic style of Lyonel Feininger: The Catalogue Raisonné of Paintings is the work of the French graphic designer Philippe Apeloig. A longstanding member of the Alliance Graphique Internationale, Apeloig has created the visual identities for numerous international art institutions, including the Direction des Musées de France, the Institut National d’Histoire de l’Art, and the Instituto Universitario di Architettura di Venezia.

In addition to The Catalogue Raisonné of Paintings, the Lyonel Feininger Project is currently preparing The Catalogue Raisonné of Drawings and Watercolors, by Achim Moeller and Sebastian Ehlert, and The Catalogue Raisonné of Graphic Works, by Sebastian Ehlert.

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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we are pleased that the Lyonel Feininger Project
chose panOpticon to power it’s online catalogue raisonné

Sam Francis Online CR Launched

A new “living catalogue raisonné” embraces the creative spirit of Sam Francis

FOR IMMEDIATE RELEASE
April 18, 2018
MEDIA CONTACT
Brianna Smyk Reder
BriannaSmykReder@gmail.com
415.214.4144

On April 18th the Sam Francis Foundation released the inaugural stage of Sam Francis: Online Catalogue Raisonné Project – Unique Works on Paper and Expanded Version of Canvas and Panel Paintings 1945–1949.

“One of the twentieth century’s leading interpreters of light and color, American artist Sam Francis (1923–1994) was one of the first post-World War II painters to develop an international reputation. A truly international artist, he maintained studios in Bern, New York, Los Angeles, Paris, and Tokyo, and his work references New York Abstract Expressionism, Color Field Painting, Chinese and Japanese art, French Impressionism, and his own Bay Area roots. Francis created thousands of paintings as well as works on paper, prints, and monotypes, which are housed in major museum collections and institutions around the world.”

“SFCR is an interactive digital platform that presents for the first time unique works on paper and new information compiled by Editor Debra Burchett-Lere, Project Manager Beth Ann Whittaker, Contributors Leila Elliott and Stephanie Velazquez, and a team of photography editors, who have conducted extensive research with the Sam Francis Foundation’s in-house archives as well as the Getty Research Institute’s holdings. Embracing the artist’s creative and innovative spirit, the “living catalogue raisonné” will be amended regularly, both with new entries and with updates to existing pages, which will be time-stamped as they are modified.”

“We are thrilled to launch this first volume of Sam Francis’s digital catalogue raisonné, SFCR, which highlights the latest and most exhaustive research on the artist available to anyone, anywhere,” says Debra Burchett-Lere, Director of the Sam Francis Foundation. “It furthers the Foundation’s mission as it enables the international audience, to whom Francis was so significant, to access his vast oeuvre and learn new information about him as it is being discovered.”

Above:
SFF4.61 (Francis Archive SF48-002)
Untitled [Berkeley] 1948
Watercolor on paper
48.26 x 65.41 cm (19 x 25 3/4 in.)
INSCRIPTIONS: Reported to be signed, dated and inscribed in pencil on verso: Sam Francis 1948 Berkeley
ADDITIONAL NOTATIONS: Notated by studio assistant with the Litho Shop identification number and
an inventory number on blond wood frame verso: SF48-002 S4-33G
Stamped with the Sam Francis Estate logo stamp on verso
CREATION LOCATION: San Francisco Bay Area (Berkeley)
COLLECTION: Collection of Judith Ann Corrente, New York

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We at panOpticon are extremely proud that the Sam Francis Online Catalogue Raisonné Project uses our unique information management system to power it’s online project.

Starting a catalogue raisonné project? Already have data and wondering what to do next? Simply have a question? Email us at enquire@panopticondesign.net.

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.

Paul Cézanne in his studio at Les Lauves

How to keep an artist’s work alive? — choose the right online tool

The Artist Estate: A Handbook for Artists, Executors, and Heirs, is a must read 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 & tax advisors, and all those who have a stake in the industry.

Edited by Loretta Würtenberger, co-founder of The Institute for Artists’ Estates in Berlin, this invaluable book offers “appropriate financial models, possible legal frameworks, as well as advice on how to properly handle the art market, museums, and academia.” A whole chapter entitled “How to Keep an Artist’s Work Alive?” is devoted to the catalogue raisonné enterprise.

“Whether it provides an overview of the artist’s oeuvre in digital or print form, a catalogue raisonné establishes the fundamental categories of the art in the catalogue, as well as influences the way we discuss the art. Because it creates value, the originators and editors also carry a great ethical responsibility. In order to maintain the integrity of the artist and the authenticity of his or her work, the meticulous scholarly assessment must be carried out independent of any financial interests. As a ‘register of reason,’ the work on the catalogue raisonné requires diligence more than intellectual brilliance,” remarks the art historian Anette Tietenberg, who works in Braunschweig. Yet the catalogue raisonné also requires more than organizational abilities, as it must harness ‘the power of facts to ensure its future relevance.’

“Today, a catalogue raisonné should be digitized; it almost goes without saying that online databases can be expanded and updated easily. Moreover, the scope of the online catalogue raisonné should encompass the following:

1. Links to internal archival material
2. Links to documentation such as checklists and exhibition photographs
3. The integration of video and audio materials
4. The possibility of incorporating negative or inconclusive results, so that the limits of previous research are well understood
5. Links to external sources such as archival holdings and press articles or other publications, as well as public search engines and databases.

“… it is also imperative to select a database that can be used internally, but also provides a module for web publishing. Among other things, this module then helps determine which sets of information developed for internal use should be published online and for whom. [The New York archivist Caroline] Gabrielli recommends asking at the outset: Who should have full access to the catalogue raisonne? Should access only be local or should it be published on the web? Does the technology allow necessary information to be linked? How much does this particular solution cost? Does it necessitate ongoing technical support, or must separate IT providers be brought on?”

Now, take a look at the best example out there, bar none: The The Paintings, Watercolors and Drawings of Paul Cezanne: An online catalogue raisonné under the direction of Walter Feilchenfeldt, Jayne Warman and David Nash.

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Whether you are starting a catalogue raisonné from scratch, or looking for a more robust product for your current data, panOpticon has a package that will meet your exact needs.

   “The Estate of David Smith is currently using panOpticon for our catalogue raisonné and archives databases and for more general inventory purposes.
“Although we don’t plan to publish the David Smith Sculpture catalogue raisonné 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.
“We’ve found panOpticon to be a remarkably good partner, working with us to migrate the data from our old system, and willing to add features and customize aspects of the basic panOpticon system so we could make it work well for our particular needs.”

 — Susan Cooke
Associate Director / The Estate of David Smith
David Smith Catalogue Raisonné

Contact us to schedule a demonstration.

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Above: Paul Cézanne in his studio at Les Lauves, in front of the Large Bathers now at the Barnes Foundation. Photo by Émile Bernard, 1904.