WPI launches digital catalogue raisonné of Romare Bearden
The Wildenstein Plattner Institute (WPI) has published the first release of the digital catalogue raisonné dedicated to Romare Bearden (1911–1988), a leading figure in 20th-century American art.
Celebrated for his mastery across multiple media — particularly collage, his signature technique — Bearden created works that span social realism, abstraction, and his distinctive modernist approach to African American experiences and jazz-inspired compositions. His contributions earned him the National Medal of Arts in 1987 and major retrospectives at the National Gallery of Art, Washington, D.C. (2003) and Studio Museum in Harlem (1991). Despite these contributions, comprehensive documentation of his entire body of work had not been undertaken until the Wildenstein Plattner Institute and the Romare Bearden Foundation embarked on the project in 2020. This also represents only the second comprehensive cataloguing of works for an African American artist, following Jacob Lawrence's print-only catalogue raisonné published 25 years ago.
This initial release focuses on 1964–1969, when Bearden established his reputation through collage and gained prominence in New York's art scene. "We began with this pivotal moment that showcases Bearden's most celebrated contributions—simultaneously serving as an ideal introduction for newcomers and offering familiar territory for those already acquainted with his legacy," explains Camara Holloway, the project manager.
The complete catalogue will eventually document approximately 3,200 works, with future phases expanding chronologically to cover Bearden's entire career.
Romare Bearden, Return of the Prodigal Son, 1967, collage of various papers on canvas, 50 x 60 inches (127 x 152.4 cm), Buffalo AKG Art Museum, New York. Image courtesy of Buffalo AKG Art Museum, New York © Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.
Technical innovation that integrates artwork with archival material
The Bearden digital catalogue raisonné runs on the Navigating.art platform, which introduced several new features to help readers develop a contextual understanding of Bearden's work.
A crucial improvement to the platform enabled readers to navigate directly between Bearden’s catalogue raisonné and his archive. The Romare Bearden Papers offers unprecedented insights into the artist's life, working methods, and professional relationships through documents and materials collected and maintained by the artist throughout his career as an artist, writer, and composer. What makes this archive particularly impressive is the inclusion of audiovisual materials. In the archive, readers can watch and listen to these artifacts, as well as use OCR-processed transcripts, which make the content of these recordings searchable and accessible. These recordings capture Bearden's voice, thoughts, and presence in a way that static documents cannot, offering a more complete understanding of the artist.
The recordings and other archival materials also highlight how Bearden’s impact extended far beyond his own artistic production. Throughout his career, he served as a dedicated advocate for African American artists and worked tirelessly to expand opportunities and recognition for their work. Bearden specifically co-founded the Cinque Gallery with fellow artists Norman Lewis (1909–1979) and Ernest Crichlow (1914–2005) to support younger artists of color with limited exhibition opportunities in mainstream galleries. Holloway describes how Bearden's advocacy manifested in practical support for emerging artists: "He spoke with young artists, encouraged them, helped make connections so that people could find their way into opportunities that could result from these engagements." This mentorship and networking were particularly valuable in an art world that remained largely exclusionary toward artists of color. Bearden’s archive is filled with important representations of the networks he established and supported throughout his lifetime.
Users of the catalogue raisoné can move directly between viewing an artwork and relevant archival materials to explore the work’s rich history. If archival photographs depict an artwork hanging in an exhibition or printed in publications, there are now links to those resources on the artwork page, as well as links to external resources such as the museum that currently houses the work. This integration creates a network of information so that users can better understand a work within various contexts throughout its history.
Overcoming cataloging challenges with the digital corpus method
Creating Bearden’s catalogue presented unique challenges. First, the artist didn’t maintain a complete inventory of his work, and second, Bearden was incredibly generous. These make it difficult to know just how many pieces by the artist exist and where they might be found.
Without a list from Bearden himself, the WPI began its investigation with an inventory created by the Bearden Foundation. During the research process, the WPI is verifying and documenting the list with the use of archival materials and oral histories. The team is also adding to the list as new discoveries are made. The WPI has come to refer to this list-based approach as the digital corpus model. Central to this strategy is the publication of new material and verified works as research is completed. This incremental publishing allows the WPI to share research as quickly as possible while maintaining high research standards.
Bearden’s generosity has made tracking down some of the pieces on the Foundation’s list a challenging task. The artist often gave works to friends, colleagues, and aspiring artists. Project researcher Catherine Huff explains: "Many of Bearden’s works have made their way to public institutions, and notable art collectors also have quite a few. But there are so many instances where his pieces end up in the hands of people who don't necessarily know what they have and how important they are." As these original recipients age or pass away, the project team often finds themselves explaining to inheritors the significance of the objects in their possession. Having the partial catalogue raisonné available online will help to raise awareness of the project and, perhaps, encourage people to bring pieces forward over the next few years.
Romare Bearden, Melon Season, 1967, collage of various papers on canvas, 56 ½ x 44 ½ inches (143.5 x 113 cm), Neuberger Museum of Art, Purchase College, State University of New York. Image courtesy of Neuberger Museum of Art, Purchase College, State University of New York © Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.
African American artists and the catalogue raisonné
The significance of this project extends beyond documenting Bearden’s work. It represents a methodological advancement in how African American art is studied, preserved, and positioned within the broader narrative of American art history.
"It begins to show the possibility for a new area for research for African American artists, and it also puts Bearden in line with many of his peers who have catalogues rasionnés, which have defined the story of 20th-century art," Holloway emphasizes.
This digital catalogue raisonné helps to address a critical imbalance in art historical documentation. While many white American and European artists have long had comprehensive catalogues of their work, African American artists have been significantly underrepresented in this form of scholarly documentation. The Jacob Lawrence catalogue raisonné, published 25 years ago, was the only previous example for an African American artist, and it exists only in print form with no subsequent updates.
This disparity has real consequences for how artists are studied, valued, and remembered. Catalogues raisonnés serve as the definitive record of an artist's oeuvre, influencing museum acquisitions, scholarly research, market valuations, and inclusion in art historical narratives. By creating this digital resource for Bearden, the project establishes a foundation for more equitable representation in the documentation of American cultural heritage.
As Huff notes, the project's timing has particular cultural importance: "There's no better time to be working on such important material that will hopefully protect the legacy of a Black artist." In an era when the need for representation and cultural preservation has gained renewed urgency, this project provides a model for how digital tools can help ensure that significant artistic contributions from historically marginalized communities can be thoroughly documented and made accessible to future generations.
Romare Bearden, Evening, 9:10, 461 Lenox Avenue, 1964, collage of various papers on board, 8 ¾ x 11 inches (22.2 x 27.9 cm), Van Every/Smith Galleries at Davidson College, Davidson, North Carolina. Image courtesy of Van Every/Smith Galleries at Davidson College, North Carolina © Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.
Begin exploring the life and work of Romare Bearden
Romare Bearden was well known during his long, prolific career, and his legacy continues to influence artists today. His digital catalogue raisonné — the first digital catalogue raisonné for an African American artist — awaits the next generation of readers and artists to continue expanding the reach of his essential history.
The Romare Bearden digital catalogue raisonné is now available free online to readers, offering unprecedented access to his work and archival materials.
