Contact the Robert Kipniss Studio. Director of Operations, Isaiah Rivera, Director of Sales, Philip Allen, and the Artist's representative and curator, Sarah Kirk Hanley. Director of Operations Isaiah Rivera info@robertkipnissstudio.com +1 917 887 0576 Email Isaiah Studio Mailing Address P.O. Box 1067 Sharon, Connecticut 06069 Director of Sales Philip Allen philip@robertkipnissstudio.com Philip Allen began his art career in Chicago in 1989. In 1993 he began exhibiting the artwork of Robert Kipniss at the Hexton Gallery in New York City, which led to four sold out, one man shows. From 1999 to 2006, Allen was managing director of the Weinstein Gallery in San Francisco, where he hosted multiple solo Kipniss exhibitions, created significant catalogues, and participated in several major publications about the artist's prints, paintings, and drawings. In that period of time and afterward, Weinstein Gallery sold many millions of dollars of Kipniss's work. Artist Representative and Curator Sarah Kirk Hanley sarah@robertkipnissstudio.com +1 203.507.8127 Sarah Kirk Hanley is an independent critic, curator, appraiser, and consulting expert for fine art prints, editions, and illustrated artists’ books. In addition to her work for Robert Kipniss, she serves as an expert consultant for several art appraisal and advisory firms in New York. She is also a member of the board of directors for The Atelier 17 Project, which encourages new research about this avant-garde printmaking workshop upon its 2027 centennial, and the advisory board for the Center for the Preservation of Artists’ Legacies (CPAL). She is a frequent guest lecturer and speaker in her area of expertise for seminars, professional associations, colleges, and museums. She has published numerous scholarly articles and essays on Contemporary printmaking. Ms. Hanley is a member of ArtTable, the Association of Print Scholars, the Appraisers Association of America, the Catalogue Raisonné Scholars Association, and Phi Beta Kappa. Ms. Hanley holds an MA in Museum Education from the University of the Arts, Philadelphia, and a BFA in Printmaking and Fine Art from the University of Iowa, magna cum laude.

Contact the Artist's representative - Sarah Kirk Hanley is an independent curator, critic, and expert appraiser based in the greater New York City area, specializing in contemporary prints, multiples, and illustrated/artists' books. She has been a contributor to Art in Print and Art21 Magazine and served in leadership positions at the Manhattan Graphics Center, Christie's, and the Milwaukee Art Museum. Mailing Address: P.O. Box 1067 Sharon, Connecticut 06069 Director of Operations Isaiah Rivera info@robertkipnissstudio.com +1 917 887 0576 Email Isaiah Philip Allen began his art career in Chicago in 1989. In 1993 he began exhibiting the artwork of Robert Kipniss at the Hexton Gallery in New York City, which led to four sold out, one man shows. From 1999 to 2006, Allen was managing director of the Weinstein Gallery in San Francisco, where he hosted multiple solo Kipniss exhibitions, created significant catalogues, and participated in several major publications about the artist's prints, paintings, and drawings. In that period of time and afterward, Weinstein Gallery sold many millions of dollars of Kipniss's work. Director of Sales Philip Allen philip@robertkipnissstudio.com Sarah Kirk Hanley is an independent critic, curator, appraiser, and consulting expert for fine art prints, editions, and illustrated artists’ books. In addition to her work for Robert Kipniss, she serves as an expert consultant for several art appraisal and advisory firms in New York. She is also a member of the board of directors for The Atelier 17 Project, which encourages new research about this avant-garde printmaking workshop upon its 2027 centennial, and the advisory board for the Center for the Preservation of Artists’ Legacies (CPAL). She is a frequent guest lecturer and speaker in her area of expertise for seminars, professional associations, colleges, and museums. She has published numerous scholarly articles and essays on Contemporary printmaking. Ms. Hanley is a member of ArtTable, the Association of Print Scholars, the Appraisers Association of America, the Catalogue Raisonné Scholars Association, and Phi Beta Kappa. Ms. Hanley holds an MA in Museum Education from the University of the Arts, Philadelphia, and a BFA in Printmaking and Fine Art from the University of Iowa, magna cum laude. Artist Representative and Curator Sarah Kirk Hanley sarah@robertkipnissstudio.com +1 203.507.8127

Robert Kipniss has exhibited at major museums and institutions since 1951. Here you can see current exhibitions and a selection of past solo and group shows. EXHIBITIONS The Whispering Light Fort Wayne Museum of Art, 2006 View More Quiet Intersections: The Graphic Work of Robert Kipniss Syracuse University, 2015-16 View More Seen in Solitude: Robert Kipniss Prints from the James F. White Collection New Orleans Museum of Art, 2006 View More SELECTED SOLO EXHIBITIONS 2024 Robert Kipniss: Selections from the New Orleans Museum of Art , CK Contemporary, San Francisco. View Catalog 2023 Solemn Spaces: Works by Robert Kipniss , Fort Wayne Museum of Art, Fort Wayne, Indiana Robert Kipniss: Paintings, Drawings, and Prints , The Old Print Shop, New York, New York Robert Kipniss: Shades of Nature , The Artist Book Foundation, North Adams, Massachusetts 2018 Robert Kipniss: An Exhibition of New and Old Paintings, Mezzotints, and Drypoints , The Old Print Shop, New York, New York. View Catalog 2016 Robert Kipniss: New Mezzotints, Drypoints, and Paintings , The Old Print Shop, New York, New York. View Portfolio 2016 Recent Acquisitions: Prints by Robert Kipniss , Maier Museum of Art, Randolph College, Lynchburg, Virginia 2012 Robert Kipniss: Recent Paintings, Franklin Riehlman Gallery , New York, New York 2011 Robert Kipniss: Mezzotints and Paintings , Center for Contemporary Printmaking, Norwalk, Connecticut 2010 Robert Kipniss: Light and Shadow, Wichita Falls Museum of Art at MSU Texas, Wichita Falls, Texas (37 prints from the museum's collection) Robert Kipniss: Works on Paper and Canvas , Springfield Art Museum, Springfield, Missouri 2004 Robert Kipniss: Mezzotints, Drypoints, Drawings , Center for Contemporary Printmaking, Norwalk, Connecticut 2002 Robert Kipniss: Lithographs from the Artist’s Archives1968-1990 , Weinstein Gallery, San Francisco (exh. cat) 2001 Robert Kipniss: Paintings and Drawings , Beadleston Gallery, New York, New York (exh. cat) 2000 Robert Kipniss: Painter/Printmaker , Weinstein Gallery, San Francisco (exh. cat) Robert Kipniss: Prints and Drawings , Redfern Gallery, London 1999 Robert Kipniss: Mezzotints, Lithographs , Galerie Gerda Bassenge, Berlin (exh. cat) Robert Kipniss , The Butler Institute of American Art, Youngstown, Ohio Transitions: Drawings, 1960-64 / Robert Kipniss , Tyler Museum of Art, Tyler, Texas 1997 Robert Kipniss: The Image and the Medium , Wichita Falls Museum & Art Center, Wichita Falls, Texas 1996 Robert Kipniss Intaglios , The Century Association, New York, New York 1994 Robert Kipniss: Recent Paintings, Drawings, Drypoints, Mezzotints, Lithographs , Hexton Gallery, New York 1989 The Art of Robert Kipniss , Illinois College, Jacksonville, Illinois 1988 Robert Kipniss: New Oil Paintings , Harmon Meek Gallery, Naples, Florida 1985 Robert Kipniss: A Collection of Recent Prints , Springfield Art Center, Springfield, Ohio 1983 Robert Kipniss: Inner Landscapes , Merrill Chase Galleries, Chicago, Illinois 1981 The Inner Landscape: The Paintings and Lithographs of Robert Kipniss, The Bruce Museum of Arts and Science, Greenwich, Connecticut 1981 Robert Kipniss: Inner Landscapes , Springfield Art Center, Springfield, Ohio Hidden Visions: A 30-year Retrospective of the Art of Robert Kipniss , Merrill Chase Galleries, Chicago, Illinois Robert Kipniss: Recent Prints,1980-81 , Art Connections Gallery, Saint Louis (supplement to Karl Lunde’s 1980 catalogue raisonné by Richard Lundgren released) 1980 Robert Kipniss: Recent Paintings , Hirschl & Adler Galleries, New York 1979 Kipniss: An Exhibition of Lithographs In Celebration of the Rededication of Koch Hall , Wittenburg University, Springfield, Ohio 1977 Robert Kipniss: Ten Years of Lithography , Associated American Artists, New York, New York (exh. cat) 1975 Robert Kipniss , Centro de Arte Actual, Pereira, Colombia Robert Kipniss: óleos et litografías , Museo de Arte Moderno La Tertulia, Cali, Colombia (4 paintings and 45 lithographs) 1963 Robert Kipniss: Recent Paintings , FAR Gallery, New York 1959 An Exhibition of Oil Paintings by Robert Kipniss , The Contemporaries, New York 1955 Robert Kipniss: Landscapes , Allen R. Hite Institute, University of Louisville, Kentucky SELECTED GROUP EXHIBITIONS 2022 SAGA l The Society of American Graphic Artists , The Gallery at The Met Store, The Metropolitan Museum of Art, New York, (exh cat) 2021 Living With Art: The Alexander Walker Collection, The British Museum, London, and four additional UK institutions (exh cat, curated and with essay by Catherine Daunt, 4 works with commentary and illustrations, pages 146-47) 2017 Recent Acquisitions , The Richard F. Brush Art Gallery, St. Lawrence University, Canton, New York 2016 In Print , Hofstra University Museum, Hempstead, New York Cornucopia: Still Lifes from the Collection , Heckscher Museum of Art, Huntington, New York 2015 Graphic Appeal: Modern Prints from the Permanent Collection , Heckscher Museum of Art, Huntington, New York (exh pamphlet) Recent Acquisitions to the Permanent Collection , Fort Wayne Museum of Art, Fort Wayne, Indiana Escape to Tranquility: The New American Landscape , The Lauren Rogers Museum of Art, Laurel, Mississippi, 2015 (exh pamphlet) Sense of Place: Landscapes from the Permanent Collection , Joel and Lila Harnett Museum of Art, University of Richmond, Virginia Eye on UI: Brodsky, Dorfman, Kipniss, Lanyon, Figge Art Museum, Davenport Iowa 2014 Conversations: Selections from the Permanent Collection , Cornell Fine Arts Museum, Winter Park, Florida, 2014 2013 New Acquisitions , Heckscher Museum of Art, Huntington, New York 50/50 Celebrating Fifty Years of the Hofstra University Museum , Hofstra University Museum, Hempstead, New York (exh cat) Drawings and Prints from the Permanent Collection , The Metropolitan Museum of Art, New York, New York 2012 The Disappearing Landscape: Selections from the Hofstra University Museum Collection , Hofstra University Museum of Art, Hempstead, New York (exh cat) 2011 Works from the Permanent Collection , The New Britain Museum of American Art, New Britain, Connecticut 2010 Surface Tension: Pattern, Texture, and Rhythm in Art from the Collection , Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, Virginia Drawings and Prints from the Permanent Collection , The Metropolitan Museum of Art, New York, New York 2009 Icons of the Permanent Collection from Coast to Coast: American Landscapes , Mississippi Museum of Art, Jackson, Mississippi Recent Acquisitions from the Syracuse University Art Collection , Syracuse University Art Galleries, Syracuse, New York, and Palitz Gallery, Syracuse University Art Galleries at Lubin House, New York, New York (exh pamphlet) 2007 Visions: Selections from the James T. Dyke Collection of Contemporary Drawings , Naples Museum of Art, Naples, Florida and The Arkansas Arts Center, Little Rock, Arkansas (exh cat curated by and with an essay by Townsend Wolfe, illustration page 106) From Albers to Picasso: A Selection of 20th Century Prints , Dowd Fine Arts Gallery, SUNY Cortland (exh cat) 2006 Recent Acquisitions: Watercolors, Drawings, and Prints, New Britain Museum of American Art, New Britain, Connecticut 2006 Biennial of American Prints, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, Virginia Highlights from the Permanent Collection, The Art Students League, New York, NY Traveled to: Owensboro Museum of Art, Owensboro, Kentucky; Cape Museum of Fine Arts, Dennis, Massachusetts; Brunnier Art Museum, Ames, Iowa; Southern Vermont Art Center, Manchester, Vermont; Hillstrom Museum of Art, St. Peter, Minnesota; Lowe Art Museum, Coral Gables, Florida; Pensacola Museum of Art, Pensacola, Florida; Fort Wayne Museum of Art, Fort Wayne, Indiana; The Long Island Museums of American Art, Stony Brook, New York 2005 The Color of Night, The Zimmerli Art Museum, Rutgers University, The State of New Jersey, New Brunswick The Power of Place: The Berkshires, The Berkshire Museum, Pittsfield, Massachusetts 2004 Contemporary Prints from the Collection of the National Academy Museum (45 prints chosen from the collection of 1,500), National Academy Museum and School of Fine Arts, New York, New York A Record of What Has Been Accomplished: Highlights from the Permanent Collection of the Art Students League of New York, The Forbes Galleries, New York, New York, (exh pamphlet) 2003 Object Lessons: Additions to the Collection,1997-2002, Everson Museum of Art, Syracuse, New York Celebrating a Decade of Growth: Selections from the Orlando Museum of Art's Permanent Collections, Orlando Museum of Art, Orlando, Florida 2002 Pressed: Intaglio, Tacoma Art Museum, Tacoma, Washington A Century on Paper: Prints by Art Students League Artists, 1901-2001, USB PaineWebber Art Gallery, New York, New York, (exh cat, illustration page 19) 2001 Royal Academy Summer Show , Royal Academy, London 2000 Higher Ground: Works by Master Printmakers; David Becker, Robert Cottingham, Robert Kipniss, Peter Milton , Fine Arts Hall, Columbus State University, Columbus, GA, Recent Acquisitions , The British Museum, London 1999 Treasures Revealed: Nineteenth- and Twentieth-Century American Works on Paper , National Academy Museum and School of Fine Arts, New York, New York (exh cat.) No Day Without a Line, the History of the Royal Society of Painter-Printmakers,1880-1999 , Ashmolean Museum, Oxford (exh cat.) 1988 Invitational Exhibition , American Academy of Arts and Letters, New York, New York 1978 Grabadores Norte Americanos: Will Barnet, Warrington Colescott, Robert Kipniss, Kenjilo Nanao , Museo de Arte Moderno La Tertulia, Cali, Colombia 1976 II Bienal Americana de Artes Graficas , to be digitized and republished through a grant from The Getty Foundation, “The Paper Project: Three American Biennials of Graphic Arts, 1970s,” Museo de Arte Moderno La Tertulia, Cali, Colombia 1972 Recent Acquisitions , Whitney Museum of American Art, New York, New York Recent Acquisitions , New York Public Library, New York, New York 1963 Moods of Light , American Federation of Arts, traveled to: Vanderbilt Gallery, Nashville, Tennessee; Andrew Dickson White Museum, Cornell University, Ithaca, New York; Davenport Municipal Art Gallery, Davenport, Iowa; Utah Museum of Fine Arts, Salt Lake City, Utah; University of Manitoba, Winnipeg, Manitoba, Canada; West Virginia University, Morgantown, West Virginia; Cranbrook Academy of Art, Bloomfield Hills, Michigan; Paul Sargent Gallery, Charlestown, Illinois 1952 The Seventeenth Annual New Year Show (exh cat), Butler Art Institute, Youngstown, Ohio, 1953

This handsome book won the bronze medal for Artbook of the Year from Foreward magazine. It contains an exhibition history for every one of the 139 mezzotint prints in the volume and an illustrated chronology of the artist's life. < Back to all books Robert Kipniss: Intaglios, 1982 - 2004 For the deluxe edition, please inquire with Kipniss’s galleries Consult Bookfinder for availability Catalogue raisonné (specific to titular technique and timeframe) Introduction and documentation by Trudie A. Grace, curator of works on paper, National Academy of Design, New York, New York Critical essay by Thomas Piché Jr., senior curator, Everson Museum of Art, Syracuse, New York Published by Hudson Hills Press, 2004 ForeWord Indies 2004 Book of the Year Award, Bronze Trade and deluxe editions 156 color plates Robert Kipniss, Intaglios 1982-2004 documents 139 intaglio editions in mezzotint, drypoint, roulette, and etching, including related paintings and hand-colored variants. Most are fully illustrated. Techniques, number and types of impressions, dimensions of the image area, printers, publishers, and public collections which hold impressions are listed. It includes an extensive biographical chronology and selected exhibition history. In her introduction, Grace situates Kipniss’s intaglio work to date with that of his work in other media. She discusses his mezzotint technique in depth, as well as the stylistic shift in his work that his intense focus on this medium provoked. Piché’s essay delves into Kipniss’s studio environment, how he developed his signature style. He positions the artist’s work as a continuation of the late-Romantic movement of Tonalism in the United States and discusses various European Modernist influences, including Paul Cézanne, Georges Braque, and Nicholas de Staël. He concludes, “Kipniss’s best work offers numinous meaning wrested from his life-long experience with phenomena not entirely knowable, even to himself.” This book is out of print. It was published both in a trade edition and a signed and numbered deluxe edition of 150 plus 25 artist’s proofs in a custom slipcase, including two signed original mezzotints, Interior w/ mountain and Nocturne w/ six trees (2004), each 7 x 5 inches.

In addition to the many essays and the memoir by Robert Kipniss listed in the books section, below are selected essays that have not been published elsewhere or are difficult to access. ESSAYS In addition to the many essays and the memoir by Robert Kipniss listed in the books section, below are selected essays that have not been published elsewhere or are difficult to access. Artist Statement, 1980s Read On Vision, 1988 Read On the Mezzotint, For Stella, 1998 Read Style and Isolation, 2003 Read Lifetime Achievement Award Address, SAGA, 2007 Read Regard, 1959/2011 Read

This biographical timeline represents major events in Robert Kipniss' life from his birth in 1931 to present day exhibitions in 2024. BIOGRAPHICAL TIMELINE 1931 Born in Brooklyn, NY 1947 Begins classes at the Art Students League of New York 1948 Attends Wittenberg College (now University), in Springfield, OH; starts writing poetry 1950 Transfers to the University of Iowa to major in literature; also takes painting classes 1951 First solo show, Creative Gallery, 57th Street, NYC 1952 Graduates from the University of Iowa and accepted into the MFA program 1953 Second solo show, Harry Salpeter Gallery, 57th Street, NYC 1954 Earns MFA from University of Iowa; marries first wife Jean Prutton 1956 Serves in U.S. Army, stationed at Fort Lee in Petersburg, VA 1959 Moves to New York City; Represented by The Contemporaries, 992 Madison Avenue, NYC 1964 Ceases writing poetry to focus on painting; represented by FAR Gallery, NYC 1965 First solo museum exhibition, Allen R. Hite Institute, University of Louisville, KY 1966 Moves to Boerum Hill, Brooklyn, NY 1967 Begins printmaking at Pratt Center for Graphics; first works are intaglios 1968 Develops affinity for lithography; prints at the Bank Street Atelier, then George C. Miller and Son 1970 Moves to Great Neck, New York; first editions commission published by Associated American Artists (AAA) 1972 Represented by Merrill Chase Galleries, Chicago, IL; moves to Tarrytown, NY 1975 Represented by Hirschl & Adler Galleries, NYC 1976 Represented by The Contemporaries, 992 Madison Avenue, NYC 1979 Receives honorary doctorate from Wittenberg University, Springfield, OH 1980 Robert Kipniss: The Graphic Work catalogue raisonné published by Abaris Books; represented by Hirschl & Adler, 21 E 70th 1982 Begins working in mezzotint 1983 First marriage ends and moves to Ardsley-on-Hudson, NY 1984 Represented by Gerhard Wurzer Gallery, Houston, TX 1989 Receives honorary doctorate from Illinois College, Jacksonville, Illinois; moves to Ardsley-on-Hudson, NY 1990 Intensifies intaglio practice, particularly mezzotint; lithography wanes 1994 Marries writer Laurie Lisle; establishes second home and studio in Sharon, Connecticut; makes final lithographs with George C. Miller and Son 1995 Represented by The Redfern Gallery, London, England; begins printing intaglios with Kathy Caraccio Studio, NYC 1998 Represented by The Old Print Shop, NYC 1999 Represented by Weinstein Gallery, San Francisco and Galerie Gerda Bassenge, Berlin 2000 Represented by Beadleston Gallery, NYC 2003 Begins printing with Anthony Kirk at The Center for Contemporary Printmaking, Norwalk, CT 2004 Robert Kipniss: Intaglios, 1982-2004 catalogue raisonné published by Hudson Hills; archive established at Wittenberg University; represented by The Old Print Shop, NYC 2005 Robert Kipniss: Paintings, 1950-2005 monograph published by Hudson Hills 2006 "Seen in Solitude: Robert Kipniss Prints from the James F. White Collection," retrospective of prints with selected paintings, opens at the New Orleans Museum of Art and travels to five additional museums; review by Roberta Hershenson, "Show Marked by Poignancy," The New York Times , 2/26/06 2007 Lifetime Achievement Award from the Society of American Graphic Artists, NYC 2008 Represented by ebo Gallery, Millwood, New York 2010 Medal for Lifetime Achievement in Art from The Artists' Fellowship, NYC 2011 Robert Kipniss: A Working Life memoir published by the University Press of New England; represented by Franklin Riehlman Gallery, NYC 2013 Robert Kipniss: Paintings and Poetry, 1950-1964 published by The Artist Book Foundation, North Adams, MA; papers acquired by the Smithsonian Archives of American Art; continues printing with Anthony Kirk at Anthony Kirk Editions 2016 Solo exhibition of paintings at Fort Wayne Museum of Art, Indiana; solo exhibition of the graphics at Syracuse University Art Museum to celebrate the establishment of archive of 352 prints 2017 Shine , a novella, published by Four Directions Press, Rhinebeck, New York 2018 Retires from painting due to physical limitations, continues to draw and make intaglio prints 2019 Archive of 16 paintings and 110 prints established at Fort Wayne Museum of Art, IN 2020 Resides full-time in Sharon, Connecticut, maintains studio in Ardsley-on-Hudson, NY 2023 Robert Kipniss: Paintings, Drawings, & Prints , The Old Printshop, New York, NY 2024 Celebration of Seen in Solitude at CK Contemporary in honor of the artist’s 93rd birthday, with a selection of works originally shown at the New Orleans Museum of Art’s 2006 exhibition

In this brief address to the American Academy of Arts and Letters, Kipniss discusses the nature of “vision” and muses on how he was influenced by roaming outdoors as a youth. < Back to all essays On Vision 1988 In this brief address to the American Academy of Arts and Letters, Kipniss discusses the nature of “vision” and muses on how he was influenced by roaming outdoors as a youth. Downloadable PDF Neighbors , 1987, oil on canvas, 36 x 36 in. Collection of the American Academy of Arts and Letters, Hassam, Betts, and Speicher Purchase Fund.

Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at galleries and museums worldwide since 1951. He is a Royal Academician (retired), an elected member of the National Academy of Design, New York, and holds two honorary doctorates. ABOUT CV Representation & Important Links Honors Artist Statement Biography Influence & Style ROBERT KIPNISS Robert Kipniss is a distinguished American painter and printmaker. Born Brooklyn, NY, February 1, 1931 Downloadable CV REPRESENTATION CK Contemporary, San Francisco, CA The Old Print Shop, New York, NY ebo Gallery, Millwood, NY Anthony Kirk Editions, North Salem, NY Windsor Fine Art, New Orleans IMPORTANT LINKS Wikipedia Page WorldCat Smithsonian Archives of American Art HONORS National Academy of Design, Lifetime Achievement, 2014 The Artists’ Fellowship, Lifetime Achievement, 2010 Society of American Graphic Artists, Lifetime Achievement, 2007 National Academy of Design, New York, The Cannon Prize, 1999 Royal Society of Painter-Printmakers, London, elected member, 1998 Illinois College, Jacksonville, Illinois, Honorary Doctorate, 1989 American Academy of Arts & Letters, Hassam, Speicher, Betts and Symons Purchase Award, 1988 Wittenberg University, Springfield, Ohio, honorary doctorate, art building dedication, 1979 ARTIST STATEMENT One thing I have most wonderfully learned is that the greatest reward for making art is making art. Instinctively I knew that painting and exhibiting were the only essentials I needed, and whatever difficulties I encountered along my path, there was always the reassurance of working and learning. I was working and showing right from the start, and it never occurred to me to wonder if I would be successful or not. In the beginning, it was very challenging, mostly because there was no sure way to do it, no rules, no guideposts. For about ten years my painting was lyrical, energetic, filled with bright color, and charged with exuberance. At the same time, the poetry I was writing was dark, angry, and often painful to create. When I stopped writing in the early 1960s, my paintings took on the characteristics of my poetry and became infused with anger, a dark monochromatic palette, gravitas, and occasionally slightly surreal themes. It was only after a few years when my lyricism began to re-surface and meld with the darkness. This was the beginning of my mature style...my life as an artist continues to be a passionate adventure. Every day I learn more about the constellations of feelings and thoughts I derive from the simple act of seeing. The life of an artist is about the art. I have lived my life as I dreamed of doing when I was a young man. BIOGRAPHY Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at galleries and museums worldwide since 1951. He is a Royal Academician (retired), an elected member of the National Academy of Design, New York, and holds two honorary doctorates. His work is represented in the collections of numerous public institutions, including The Metropolitan Museum of Art, The Art Institute of Chicago, The Whitney Museum of American Art, the Smithsonian American Art Museum, the Victoria and Albert Museum, London, and many others. He has created over 750 editions and is perhaps best known as one of the leading living practitioners of mezzotint. After working in various locations in New York City for over three decades, in 1989 he moved his studio to Ardsley-on-Hudson, New York. He now lives and works in Sharon, Connecticut. "For over five decades, Robert Kipniss has prolifically produced paintings, prints, and drawings of remarkable beauty, eloquence, and refinement...he has gained international recognition for his distinctly American images of spacious landscapes and smalltown vistas, as well as quiet interiors and intimate still lifes. Following in the footsteps of such esteemed predecessors as Paul Cezanne and Giorgio Morandi, the artist has faithfully investigated and reexamined these familiar, humble subjects...He has never felt confined or restricted by their narrow range; rather, he is liberated within it... Kipniss's art has always clearly bespoken his independent spirit and lifelong embrace of solitude." − Daniel Piersol, Seen In Solitude: Robert Kipniss Prints from the James F. White Collection (New Orleans Museum of Art, 2006) INFLUENCE & STYLE In a 1982 New York Times review, critic John Caldwell observed that "the question of artistic influences is unusually complicated in the case of Mr. Kipniss" and that "the sense that one gets in all of [his] work is of a genuinely individual sensibility." While this strongly individualistic approach has been universally acknowledged by many critics and scholars since, some have found resonance between Kipniss's concerns and that of Giorgio Morandi, René Magritte, Paul Cézanne, Caspar David Friedrich, Tonalism, the Hudson River School, and the Barbizon School, particularly Camille Corot. Kipniss's subject matter is landscapes, interiors, and still lifes, often described as conveying solitude and inward experience. The lighting is penumbral or shadow-like; twilight and dawn are favored time settings. In his paintings Kipniss employs exceptional subtlety in tones and restrained use of color to create an overall atmospheric effect. His prints are masterly meditations on mood and light using a resticted black-and-white palette, though he has occasionally created color variants of selected prints, always employing a subtle color palette. His works in various media—paintings, drawings, and printmaking—are often interrelated, presenting variants on a theme. The paintings date from the early 1950s; the prints from 1967. His favored techniques in printmaking have been lithography and mezzotint, the former dating from 1968 into 1994, the latter since 1990. In keeping with his subtle and understated style, he has a unique approach to titles: the first word is capitalized, and any subsequent words are lower case, unless a proper noun; “and” is replaced by an ampersand, and “with” is shortened to “w/”.

It is not my wish to translate visual expression into words. This is about the actual making of the work. The intricacy of this image presented me with a persistent obstacle and an irresistible allure. Difficulties in bringing the drawing from paper to copper included physical and conceptual challenges. < Back to all essays Artist Statement 1980s Kipniss expounds further on his artistic journey and how intimate experiences in nature have shaped his art. Downloadable PDF Robert Kipniss at work in his studio, circa 1985

​It is an immense challenge to state in words what I try to put into images. I can talk about process and approaches, but the essence of my art eludes words. As a painter my statements are pictorial. I do know my pictures are not intended as decorations. If I must make a statement, my art is a moment of seeing the urgency in beauty, and an attempt to hold and keep something I can have and touch from this transient experience. On My Work Robert Kipniss February 28, 2016 < Back to all essays It is an immense challenge to state in words what I try to put into images. I can talk about process and approaches, but the essence of my art eludes words. As a painter my statements are pictorial. I do know my pictures are not intended as decorations. If I must make a statement, my art is a moment of seeing the urgency in beauty, and an attempt to hold and keep something I can have and touch from this transient experience.

Here, Kipniss recounts the process and astounding 840 or more hours of work that went into one of his great works in mezzotint, For Stella, an homage to his late mother. This work won the 1999 Cannon Prize from the National Academy of Art and Design. < Back to all essays On Mezzotint, For Stella 1998 Here, Kipniss recounts the process and astounding 840 or more hours of work that went into one of his great works in mezzotint, For Stella , an homage to his late mother. This work won the 1999 Cannon Prize from the National Academy of Art and Design. Downloadable PDF For Stella , 1998 (Grace 78), Mezzotint, 19.5 x 19.5 inches. Edition of 60.

Seen in Solitude is the hardcover catalog of Kipniss's exhibition at the New Orleans Museum of Art. It contains eighty-six reproductions of the artist's lithographs, drypoints, and mezzotints created between 1968 and 2005, along with images of paintings and photographs. < Back to all books Seen in Solitude Robert Kipniss Prints from the James F. White Collection Consult Bookfinder for availability Foreword and acknowledgements, E. John Bullard, director, New Orleans Museum of Art Collector's Statement, James F. White Critical essay by curator Daniel Piersol, chief curator, The Mississippi Museum of Art Robert Kipniss and Daniel Piersol (interview) Published by the New Orleans Museum of Art, 2005 68 color plates Seen in Solitude is the hardcover catalog of Kipniss's major prints retrospective of 86 works at the New Orleans Museum of Art in early 2006, a selection of the artist's lithographs, drypoints, and mezzotints created between 1968 and 2005. It was the first exhibition presented at the museum following the devastation of Hurricane Katrina and traveled to four more museums through 2009. In his critical essay, curator Daniel Piersol places Kipniss among “such esteemed predecessors as Paul Cézanne (1839-1906) and Giorgio Morandi (1890-1964)” and follows his trajectory as a printmaker through the decades. He draws stylistic parallels between Kipniss’s work and that of George Inness, René Magritte, Mark Tobey, and the poet Rainer Maria Rilke, each of whom projected a unique vision against those of their contemporaries. In an artist’s statement, Kipniss asserts, “I have always felt that wherever you are, everything is there. You just have to learn how to see it. While I have worked with a limited number of subjects—trees, houses, chairs—it’s really very limitless. I know this by having gone back to the same landscape over a period of time; every time I go there, I see a different landscape.” This book is out of print.