website

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
Self-Portrait
1859–60
Oil on canvas
30 3/8 x 25 in. (77.2 x 63.5 cm)
Collection of the National Academy of Design, New York
Photo: National Academy of Design, New York

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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

an amazing site – it takes a village

Fitz Henry Lane – Gloucester Harbor 1847 (detail)

A single website can make 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)

 

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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we are pleased that the Fitz Henry Lane Catalogue Raisonné project
chose panOpticon to power its online catalogue

scholarship builds on reliable data

an exemplary catalogue raisonné takes off online

The research files that support the Catalogue Raisonné of the Canadian painter
Tom Thomson (1877–1917) are available for consultation by appointment
at the Edward P. Taylor Library & Archives, Art Gallery of Ontario

“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 Raison: Researched and written by Joan Murray

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Above: Tom Thomson
Round Lake, Mud Bay
Fall 1915
Alternate titles: Geese, Round Lake, Mud Bay
Oil on wood
8 7/16 x 10 5/16 in. (21.5 x 26.2 cm)
Inscription recto: l.r., Tom Thomson / 15 (incised) Inscription verso: u.l., in ink, by Mrs. Frank Cooper, Round Lake, Mud Bay / Painted as the First Flock of of [sic] / Geese flew back from the South [crossed out] North / Painting By The World’s Best Artist / Tom Thomson “1915″ He was Drowned at / Algonquin park July 8th 1916 [sic]; incised on frame (in 1970); Cat. 86; label, Art Gallery of Toronto, J.S. McLean
Art Gallery of Ontario, Toronto (L69.51)

 

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we are pleased that the Tom Thomson Catalogue Raisonné project
has chosen 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

Pol Bury Online CR Launched

“We all know that there are two forms of modern sculpture, one moves, the other does not. Pol Bury, touched by genius, discovered a sculpture which moves so little that at first sight you will rank it with those that do not move. This does not sound exciting when you read about it, but to see it is as terrifying as a tale by Edgar Allan Poe.”

— Jean-François Revel on the 32nd Biennale in Venice, L’Œil, July/August 1964.

Born and raised in the region of La Louvière, Belgium, Pol Bury (1922–2005) spent the better part of his artistic career in France and the United States. Having participated in the landmark 1955 exhibition “Le Mouvement” at Galerie Denise René in Paris, he is considered one of the pioneers of kinetic art.

Through subtle, extremely slow movement, Pol Bury expressed our experience of time, which set him apart from other kinetic artists for whom movement was mainly a formal means of expression.

The new POL BURY ONLINE CATALOGUE RAISONNÉ has just been launched. Written and revised by Gilles Marquenie, the publication is currently focused on the paintings, reliefs, and sculptures of the artist.

As with any catalogue raisonné, the origins of Bury’s artistic career are retraced, from Surrealism to CoBrA, to geometric painting; from his first “Plans mobiles,” to his trademark “Punctuations” and intriguing moving sculptures.

The digital catalogue raisonné allows for an interactive approach, laying bare the genesis of Pol Bury’s oeuvre, spanning over sixty years of creation. Cross-referencing exhibitions, literature, and public collections, it also becomes a tool for researchers to discover his collaboration with galleries and fellow artists.

With over 1,000 published entries at the moment, the website will be continuously updated and completed as research advances.

Collectors and anyone who might provide further documentation of the artist and his oeuvre are invited to share useful information which will contribute to making this website the perfect vehicle for expanding our knowledge and deepening our appreciation of the artist’s work.

The Pol Bury Online Catalogue Raisonné is a project of the Patrick Derom Gallery, Brussels.

Contact: Gilles Marquenie Rue aux Laines I, B-1000 Brussels www.polbury.org info@polbury.org

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Top of page: Pol Bury 1971 acier inoxydable, aimant, moteur électrique 15,5 x 50 x 50 cm (6 1/8 x 19 11/16 x 19 11/16 in.) signé, justifié, et titré sous le plateau édition de 8

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We at panOpticon are extremely proud that the Pol Bury Online Project uses our unique information management system to power their Catalogue Raisonné.

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.

size matters

Grandes_baigneuses_1906 .

comparative data analyses within shared frameworks yield many treasures
— not the least of which is the awakening of perception itself

by Jayne Warman, co-author of The Paintings, Watercolors and Drawings of Paul Cezanne.

All too often the size of a work of art illustrated in a printed book or catalogue is deceptive — a small painting in actuality may seem monumental in print and a large canvas diminutive. So, too, it can be a challenge to visualize the sizes of a selected group of pictures and how they compare to one another.

One of the many appealing features of an online catalogue is the potential to view the works of art by their relative size. For scholars this capability can be a powerful research tool and for museum curators a useful instrument in organizing exhibitions. Think about it: one can view online all of the self-portraits by an artist, say from smallest to largest, or by date of execution, or in relation to all portraits of a specified dimension. Or, if the artist executed a motif in series (Cezanne, for example, often painted in threes), one can easily compare visually the same subject in its varying sizes. Furthermore, exhibitions or public collections can be recreated with the works of art seen proportionately. I use the example of the Cezanne retrospective at the 1907 Salon in Paris where nearly sixty paintings and watercolors were shown, including the Philadelphia Museum’s monumental Grandes Baigneuses, which by its sheer size dominated the exhibition space.  In the absence of installation photos for this retrospective, a researcher with access to an online catalogue can better appreciate the impact of this impressive work on the many young artists who encountered Cezanne’s art for the first time.

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Above:
FWN 981
Paul Cezanne
Grandes baigneuses 1906
Alternate titles: Badende; Badende (Frauen); Badende Frauen; Baigneuses; Bañistas; Bathers; Die Badenden; Grandes bañistas; Große Badende; Le Bain; Les baigneuses; Les grandes baigneuses; Nus or Grandes baigneuses; The Bathers; The Large Bathers
Rewald: (857) 1906; Venturi revised: 1898–1905; Venturi: (719) 1898–1905; Rivière: 1895 and 1902; Gowing: started in 1895, abandoned, and taken up again in 1905; Reff: 1906 (MoMA)
Oil on canvas
82 7/8 x 98 3/4 in. (210.5 x 250.8 cm)
Vollard B stockbook: no. 4453, baigneuses (20000/60000 frs)
Philadelphia Museum of Art (W.P. Wilstach Collection)

Friedrich Gräsel CR Online

The Complete Work of German sculptor Friedrich Gräsel can now be accessed on the artist’s official website managed by Van Ham Art Estate (Cologne).

For immediate release | October 2018

Friedrich Gräsel (1927–2013) is firmly rooted in his hometown of Bochum. He found inspiration for his minimalist objects in the Ruhr area. He is one of the first German artists to succeed in translating industrially manufactured products, with their functional implications, into freeform, often monumental works of art.

From 1952 to 1956, Gräsel studied at the Kunsthochschule in Munich and Hamburg under Werner Haftmann, Ernst Wilhelm Nay and Fritz Winter, among others. Especially in the Rhine-Ruhr region, he designed numerous sculptures for public spaces. In 1972 Gräsel created the German contribution to “Skulptur in der Stadt” (Sculpture in the City) on the occasion of the 36th Venice Biennale. His works are represented, among others, in Lehmbruck Museum Duisburg, Folkwang Museum Essen, Skulpturenmuseum Glaskasten Marl, Sprengel Museum Hannover, Hamburger Kunsthalle, and Kunstmuseum Bonn.

Van Ham Art Estate has managed the artistic estate of Friedrich Gräsel since 2016. This includes his sculptures, works on paper and the outdoor projects. The artist’s complete oeuvre is now compiled in the first Van Ham Art Estate online catalogue of works and can be viewed on the official artist’s homepage www.friedrich-graesel.de. The creation of such an online catalogue goes far beyond previous standards and offers art historians and collectors new opportunities and ways to explore Friedrich Gräsel’s work.

Van Ham Art Estate is a branch of Van Ham Fine Art Auctioneers – the only German auction house that offers the entire range of services from the administration to the art historical appraisal of an artist’s estate and has now developed one step further by providing the digitization of information on official websites and online catalogues raisonnés.

More online catalogues raisonnés of estates managed by Van Ham Art Estate are coming soon.

for further inquiry, contact:
Anne Rinckens
a.rinckens@van-ham.com
Press and Public Relations
VAN HAM Fine Art Auctioneers
www.art-estate.org
Hitzelerstraße 2
50968 Cologne | Germany
Tel. +49 (221) 92 58 62-88
Fax +49 (221) 92 58 62-4

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We at panOpticon are extremely proud that Van Ham Art Estate uses our unique information management system to power the Friedrich Gräsel Catalogue Raisonné online.

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.