Abstract
pplause is due to the publishers of the first catalogues raisonnes on CD-ROM for their prescient thinking,their investment of substantial funds that will not be offset by sales, and their persistence in completing projects fraught with extraordinary technical and legal difficulties. They have jolted all of us into the 1990s and have opened our minds to the infinite and innovative possibilities that electronic publication holds for journals, books, museum catalogues, and course packets.1 Art historians and critics cognizant of the importance of electronic publication have encountered myriad difficulties in embracing it. These problems include the procurement of appropriate hardware; the quality of color resolution (which can vary not only because of imaging standards but also because each monitor or printer may differ); potential unresolved legal issues concerning intellectual property rights; the high cost of the most scholarly software; and rapidly outmoded technology. Once art historians have a CD-ROM in
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