museums

“he loved the act of painting”

Portrait of Lyonel Feininger 1932

Bates Museum is cataloging the artworks of Marsden Hartley

“Thanks to a major grant, Bates College Museum of Art in Lewiston, Maine has begun work  on The Marsden Hartley Legacy Project: The Complete Paintings and Works on Paper. The Project is the first-ever comprehensive, publicly accessible guide to all known artworks by Marsden Hartley, a pioneer of American Modernism.

“One of the biggest foundation gifts ever received by the Museum, this grant is the Bates museumʼs second from the New York City-based Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts.

“The initial phase of the Hartley Legacy Project will be an annotated online catalog of all known paintings and works on paper by the prolific artist, with publication as a book being a longer-term goal.

“Gail R. Scott of Portland, Maine, an independent art historian and curator and an authority on Hartley, is partnering with Bates and will direct the project. Bates museum curator William Low says that Scott ‘has almost unparalleled knowledge of Hartleyʼs artwork and writing.’

“Scottʼs work with Bates on the Legacy Project will be based, in part, on Hartley research she has amassed over the decades. ‘Itʼs very important for scholars, galleries and museums, and even collectors to have this accessible,’ she explains.

“The Bates museum is widely recognized as an important Hartley resource thanks to the Hartley Memorial Collection, established at the college in the 1950s by a bequest from Hartleyʼs estate.

“‘As the home to the Hartley Memorial Collection and the museum in Hartleyʼs hometown, Bates thought it was important to be the institution to initiate this project and establish it here,’ says Dan Mills, director of the Bates museum.

“‘In recent years, the museum has focused on stewardship, cataloging, researching and making available information about this important collection. The museum and the Memorial Collection have increasingly been a research destination for scholars from around the world.’”

• read the complete text of this article

Above:
Marsden Hartley
Paris Days . . Pre-War Pageant
1913
Oil on canvas in artist’s painted frame
39 1/2 x 37 7/8 in. (100.3 x 81 cm.) including artist’s frame
Collection of Deborah and Ed Shein

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we are pleased that the Marsden Hartley Legacy Project
has chosen panOpticon to power its online catalog

art in the time of pandemic

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the Cape Ann Museum in Gloucester, Massachusetts is currently closed due to the COVID-19 emergency

in the meantime, CAM invites you to discover Fitz Henry Lane Online
a freely-accessible, interactive, and interdisciplinary online resource created with the help of panOpticon

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Above: Fitz Henry Lane. Brace’s Rock. 1864. Oil on canvas. 10 x 15 in. (25.4 x 38.1 cm). No inscription found. Cape Ann Museum, Gloucester, Mass., Gift of Harold and Betty Bell, 2007 (2007.10).

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an amazing site – it takes a village


Fitz Henry Lane – Gloucester Harbor 1847 (detail)

An amazing website makes a significant contribution to the digital humanities

Fitz Henry Lane Online is a freely-accessible interactive and interdisciplinary online resource created by the Cape Ann Museum. The website is organized around a catalog of the paintings, drawings, and lithographs of nineteenth-century American painter Fitz Henry Lane (1804–1865). The Cape Ann Museum, located in Gloucester, Massachusetts (Lane’s birthplace and home for most of his life) has the world’s largest collection of Lane’s paintings, drawings, lithographs, and related archival material. The website is intended to provide information of interest to a broad audience, and to serve as a resource for study of Lane’s work. The website focuses on both the formal, aesthetic qualities and the historical context of Lane’s pictures.

“One of the advantages of an online resource is that new information can be added at any time. It is intended that this site will evolve as writers, historians, and art scholars pursue new research and use this site as a forum and important resource for the work of Fitz Henry Lane and the related art and history of mid-nineteenth-century New England.

“With funding from generous donors, early conservation and curatorial work by the Museum of Fine Arts, Boston, and conservation work donated by the Cleveland Museum of Art, the website now includes hundreds of high-resolution images, including details and conservation (infrared, x-ray, and magnified) images; provenance records; selected exhibition and literature histories; annotated entries for key works; and extensive historical materials related to the subjects of Lane’s pictures. This project could not have been launched without the tireless contributions of project and Cape Ann Museum staff and the wide circle of advisors and volunteers who have so generously devoted their time and expertise, for which we are ever grateful.”

Sam Holdsworth
Fitz Henry Lane Online Project Director
“About the Project” (see the full article with list of staff, sponsors, and donors)

 

“A sincere thanks for getting us to this milestone.
The site is amazing.”

Ronda Faloon
Director of the Cape Ann Museum, Gloucester, Massachusetts
Fitz Henry Lane: An online project under the direction of the Cape Ann Museum

 

Above : Fitz Henry Lane. Gloucester Harbor (detail),1847. Oil on canvas, 28 1/2 x 41 in. (71.8 x 104.1 cm). Signed and dated lower right: F H Lane, 1847 [could have been FHL originally]. Cape Ann Museum, Gloucester, Mass., Gift of Estate of Samuel H. Mansfield, 1949 (1332.20). Photo: Cape Ann Museum

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panOpticon is pleased to have worked so closely with everyone involved with this innovative project. And we feel especially privileged that our online platform powers such a remarkable site.

Starting a project of your own? Already have data and wondering what to do next? Simply have a question? Contact us.

Moholy-Nagy at LACMA


László Moholy-Nagy and Lucia Moholy Untitled 1925

Moholy-Nagy: Future Present

Los Angeles County Museum of Art (LACMA)    February 12 – June 18, 2017

The first comprehensive retrospective of the work of László Moholy-Nagy (1895–1946) to appear in the United States in nearly fifty years, this long overdue presentation reveals a utopian artist who believed that art could work hand-in-hand with technology for the betterment of humanity. The exhibition presents an unparalleled opportunity to examine the career of this pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design. Among his radical innovations were experimentation with cameraless photography; the use of industrial materials in painting and sculpture; research with light, transparency, and movement; work at the forefront of abstraction; and the fluidity with which he moved between the fine and applied arts. The exhibition includes more than 300 collages, drawings, ephemera, films, paintings, photograms, photographs, photomontages, and sculptures, including works from public and private collections across Europe and the United States, some of which have never before been shown publicly in the U.S. Also on display is the ‘Room of the Present,’ a contemporary fabrication of an exhibition space originally conceived by Moholy-Nagy in 1930. It includes photographic reproductions, films, slides, and replicas of architecture, theater and industrial design including a 2006 replica of his kinetic ‘Light Prop for an Electric Stage’ (1930). Though never realized during his lifetime, ‘The Room of the Present’ illustrates Moholy’s belief in the power of images and various means by which to view them—a highly relevant paradigm in today’s constantly shifting and evolving technological world.

Above: László Moholy-Nagy. Room of the Present (Raum der Gegenwart), constructed in 2009 from plans and other documentation dated 1930 Van Abbemuseum, Eindhoven © 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York Photo: Peter Cox, courtesy Art Resource, New York.

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

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.

Moholy-Nagy at Guggenheim


László Moholy-Nagy and Lucia Moholy Untitled 1925

Moholy-Nagy: Future Present

Solomon R. Guggenheim Museum    New York    May 27 – September 7, 2016

The first comprehensive retrospective of the work of László Moholy-Nagy (1895–1946) to appear in the United States in nearly fifty years, this long overdue presentation reveals a utopian artist who believed that art could work hand-in-hand with technology for the betterment of humanity. The exhibition presents an unparalleled opportunity to examine the career of this pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design. Among his radical innovations were experimentation with cameraless photography; the use of industrial materials in painting and sculpture; research with light, transparency, and movement; work at the forefront of abstraction; and the fluidity with which he moved between the fine and applied arts. The exhibition includes more than 300 collages, drawings, ephemera, films, paintings, photograms, photographs, photomontages, and sculptures, including works from public and private collections across Europe and the United States, some of which have never before been shown publicly in the U.S. Also on display is the ‘Room of the Present,’ a contemporary fabrication of an exhibition space originally conceived by Moholy-Nagy in 1930. It includes photographic reproductions, films, slides, and replicas of architecture, theater and industrial design including a 2006 replica of his kinetic ‘Light Prop for an Electric Stage’ (1930). Though never realized during his lifetime, ‘The Room of the Present’ illustrates Moholy’s belief in the power of images and various means by which to view them—a highly relevant paradigm in today’s constantly shifting and evolving technological world.

Above: László Moholy-Nagy and Lucia Moholy Untitled (detail) 1925
Gelatin silver print, 3 11/16 x 2 1/2″ (9.3 x 6.3 cm). The Museum of Modern Art, NY. Thomas Walther Collection. The Family of Man Fund (1791. 2001). © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

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

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.

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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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.

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.