what’s new

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

new Arthur Dove CR in print

Arthur Dove, Sunrise I, 1936

the transcendent catalogue raisonné Arthur Dove deserves

“The Arthur Dove Catalogue Raisonné Project, launched in early 2013, aims to build on and revise the earlier compendium of the artist’s work overseen by Ann Lee Morgan in 1984. After curating two major exhibitions featuring his work—Arthur Dove: A Retrospective (1997-98) and Dove/O’Keeffe: Circles of Influence (2009)—I knew firsthand that America’s foremost abstract artist of the early twentieth century required an updated catalogue that definitively chronicled his output as a painter. With Morgan’s volume as a foundation, I sought not only to add to her entries on Dove’s known corpus of paintings and assemblages, which he called “things,” but also to illustrate each work in color. For an artist who declared in 1930, midway through his career, that his primary interest was to capture the “condition of light” elusive within nature, this seemed essential. Black-and-white reproductions, after all, can hardly allude to the metaphysical properties and sensation of transcendence that lay at the heart of Dove’s aesthetic program.

“The format of any catalogue raisonné is inherently fixed, with its prescribed chronological listings, and thereby resists invention and variation. It must prove an inventory of excavated facts—ownership histories and transactions, as well as notable exhibitions—all to serve the scholar, student, collector, and dealer. As I saw it, part of my challenge was to relieve this serial structure through some modicum of vitality. My response has been to include an essay that ties Dove’s work to the critics who (mostly) bolstered his painting during his lifetime as well as a lengthy biographical timeline that traces his career and its intersections with relevant modernist developments and preoccupations. Additionally, I have written twenty-four short essays on paintings deemed to represent some of Dove’s monuments whose formal resolution and emotional uplift stretched the known territories of American abstraction before midcentury.”

– Debra Bricker Balken
Director, The Arthur Dove Catalogue Raisonné Project

Arthur Dove: A Catalogue Raisonné of Paintings and Things
by Debra Bricker Balken; with contributions by Jessie Sentivan
Distributed by Yale University Press for the Arthur Dove Catalogue Raisonné Project
ISBN: 9780300251654 Hardcover

“… the true revelation here lies in the full-color illustrations, which track the painter through his marvels and misfires alike.” — from “BOOKFORUM CONTRIBUTORS on this season’s notable art books,” BOOKFORUM MAR/APR/MAY 2021

Above: Sunrise I, 1936, oil and wax emulsion on canvas, 25 x 35 in. Collection of Deborah and Ed Shein

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panOpticon has developed innovative digital cataloging tools
and a range of effective ways to share cultural content with others.
And, thanks to our unique user interface, you can manage and publish everything yourself.

The best way to understand what our tools can do is to see them at work —
contact us to schedule a demonstration.

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