grants and funding

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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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

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

“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

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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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.