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. 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 Sarah Kirk Hanley sarah@robertkipnissstudio.com +1 203.507.8127 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 The Studio info@robertkipnissstudio.com Email the studio Mailing Address: P.O. Box 1067 Sharon, Connecticut 06069

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.

Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at major galleries and museums worldwide since 1951. ​The Robert Kipniss studio is resource for the artwork and literature from the artist's longstanding career. ​ Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at major galleries and museums worldwide since 1951. Robert Kipniss Studio is a resource for the artwork and literature from the artist's longstanding career. ABOUT Learn more ARTWORKS View selected works EXHIBITIONS View selected exhibitions RESOURCES View books, collections, essays, and interviews

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

Robert Kipniss' unique works on paper consits of pencil and watercolor drawings. < UNIQUE WORKS ON PAPER Landscape w/ pale trees 2019, watercolor on paper, 12.25 x 10 inches. Landscape w/ seven trees 2019, watercolor on paper, 8.5 x 12 inches. White trees ca. 2013, pencil on paper. Splash III ca. 2003, pencil on paper. Still life w/ two vases ca. 2002, pencil on paper, 12.75 x 8.75 inches. White Forest III 2001, pencil on paper. Still life w/ dark window 2001, pencil on paper, 9.5 x 6.75 inches. Untitled (bushy trees) ca. 2000, watercolor on paper, 9.5 x 7.25 inches. Study for “Spring Secrets” 1995, graphite on laid paper, 8.875 x 7.62 inches. Through bedroom curtains ca. 1983, pencil on paper. Untitled ca. 1980s, pastel on paper. Study for “Essence” 1976, graphite on wove paper. Untitled #16 1963, pencil on paper, 8.375 x 10.75 inches. View more "In sketching and drawing I search for structure, the formal understanding of my seeing the physical world, and the layers of awareness that visual events provoke. Whether in the countryside or in my studio, I work with the elements of landscape as a vocabulary to express the vision, the voice, the sense of what it is within myself so touched by what I see." Robert Kipniss, 1999

Robert Kipniss has artwork in major collections including the Syracuse University Art Museum, the Fort Wayne Museum of Art, and the Allentown Art Museum to name a few. COLLECTIONS MAJOR REPOSITORIES Smithsonian Archives of American Art View Details Washington, DC Wittenberg University Library View Details Springfield, Ohio Syracuse University Art Museum View Details Syracuse, New York Fort Wayne Museum of Art View Details Fort Wayne, Indiana Allentown Art Museum View Details Allentown, Pennsylvania The British Museum View Details London, England The Metropolitan Museum of Art View Details New York, New York The Heckscher Museum of Art View Details Huntington, New York SELECTED ADDITIONAL PUBLIC COLLECTIONS A - F Achenbach Foundation for Graphic Arts, The Fine Arts Museums of San Francisco Albertina Museum, Vienna, Austria Albright-Knox Art Gallery, Buffalo, New York The Art Institute of Chicago, Chicago, Illinois Ashmolean Museum, Oxford Bates College Museum of Art, Lewiston, Maine Bibliothèque nationale de France, Paris The Boston Athenaeum, Boston, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine Brooklyn Museum of Art, Brooklyn, New York The Butler Institute of American Art, Youngstown, Ohio Canton Art Institute, Canton, Ohio Carnegie Museum of Art, Pittsburgh, Pennsylvania The Century Association, New York, New York Chazen Museum of Art, University of Wisconsin-Madison, Wisconsin The Cleveland Museum of Art, Cleveland, Ohio Columbus Museum of Art, Columbus, Ohio De Cordova Museum and Sculpture Park, Lincoln, Massachusetts Cornell Fine Arts Museum, Winter Park, Florida Davis Gallery, Hobart and William Smith Colleges, Geneva, New York The Denver Art Museum, Denver, Colorado The Detroit Institute of Arts, Detroit, Michigan Everson Museum of Art, Syracuse, New York Federal Reserve Board Fine Arts Program, Washington, D.C. Fitzwilliam Museum, University of Cambridge, Cambridge, England Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis G - M Gibbes Museum of Art, Charleston, South Carolina Harvard University Art Museums, Cambridge, Massachusetts The Heckscher Museum of Art, Huntington, New York The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York Hofstra University Museum, Hempstead, New York Indianapolis Museum of Art, Indianapolis, Indiana Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, Virginia Library of Congress, Washington, D.C. Los Angeles County Museum of Art, Los Angeles, California Maier Museum of Art, Randolph College, Lynchburg, Virginia McNay Art Museum, San Antonio, Texas Minnesota Museum of American Art, Saint Paul, Minnesota Mint Museum of Art, Charlotte, North Carolina The Mississippi Museum of Art, Jackson, Michigan The Morgan Library & Museum, New York, New York Munson-Williams-Proctor Arts Institute, Utica, New York Museo de Arte Moderno La Tertulia, Cali, Colombia Museum of Art, Rhode Island School of Design, Providence, Rhode Island Museum of Art, Rhode Island School of Design, Providence Museum of Fine Arts, Boston, Massachusetts The Museum of Fine Arts, Houston, Texas N - Z National Academy of Design, New York, New York The Nelson-Atkins Museum of Art, Kansas City, Missouri The New Britain Museum of American Art, New Britain, Connecticut New Orleans Museum of Art, New Orleans, Louisiana The New York Public Library, Print Collection, New York, New York Philadelphia Museum of Art, Philadelphia, Pennsylvania Pinakothek der Moderne, Staatliche Graphische Sammlung, Munich Springfield Art Museum, Springfield, Missouri Springfield Museum of Art, Springfield, Ohio Victoria and Albert Museum, London Virginia Museum of Fine Arts, Richmond, Virginia The Whitney Museum of American Art, New York, New York Wichita Falls Museum and Art Center, Wichita Falls, Texas Yale University Art Gallery, New Haven, Connecticut

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.

Robert Kipniss: The Graphic Work is the first book about Kipniss's prints. It includes two hundred and eight color reproductions of the artist's lithographs made from 1967 to 1979.  < Back to all books Robert Kipniss: The Graphic Work Consult Bookfinder for availability Catalogue raisonné of works in intaglio and lithography, 1967-1979 Compiled and with a preface by Karl Lunde Artist's note by Robert Kipniss Published by Abaris Books, 1980 Trade and deluxe edition Robert Kipniss: The Graphic Work documents the artist’s earliest prints in intaglio techniques, followed by his subsequent work in lithography, which dominates much of the content. Karl Lunde, art historian and professor at William Patterson College, observes: "In his prints he portrays a world of restorative quiet, a contemplative solitude hard to achieve in contemporary life, a quiet marshalling of energies exactly paralleled by the very process by which the works are achieved. Through subtle landscapes he shows us what is means to be a human being.” The artist’s first 208 editions are documented, including image size, printing details, number and types of impressions, dimensions of the image area, and publisher, when relevant. This book is out of print. It was published both as a trade edition and a signed and numbered deluxe edition of 160 plus 20 artist’s proofs in a custom slipcase, including two signed lithographs: Shadows and mists and Four trees (1979), color lithographs, 5 x 5 inches each.

From 1968 to 1994, Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. A commission from a print publisher in 1968 for five editions of lithographs precipitated his adoption of lithography as a medium. < LITHOGRAPHS Hillside w/ porch & moon 1994, color lithograph, 6 x 5.125 inches. Edition unknown. Roadside, Elsah 1990, color lithograph, 12.5 x 15 inches. Edition of 90. Road to Middleburg 1988, color lithograph, 13 x 11.375 inches. Edition of 120. Revisitation, afternoon 1987, color lithograph, 11 x 15 inches. Edition of 150. Green, Green 1987, color lithograph, 16 x 12 inches. Edition of 120. Streets & alleys, afternoon 1987, color lithograph, 11 x 12.75 inches. Edition of 120. As the rain ends 1987, color lithograph, 10 x 16 inches. Edition of 120. The Blue Stove 1987, color lithograph, 17.5 x 14 inches. Edition of 120. City, dusk 1987, color lithograph, 6.5 x 5 inches. Edition of 150. The Artist’s Bedroom 1986, color lithograph, 12 x 10 inches. Edition of 120. August 1986, color lithograph, 8 x 9 inches. Edition of 120. Invitations 1986, color lithograph, 15.75 x 17 inches. Edition of 120. Small Porch & Clouds 1986, color lithograph, 13.25 x 11 inches. Edition of 120. Poised 1986, color lithograph, 11 x 15 inches. Edition of 120. Just before the sun 1985, color lithograph, 12 x 11 inches. Edition of 120. Suspension II 1985, color lithograph, 10 x 13.5 inches. Edition of 120. Splash 1984, color lithograph, 6.5 x 5 inches. Edition of 175. Ohio moment 1984, color lithograph, 11 x 14.5 inches. Edition of 175. Window sitting 1983, color lithograph, 10.5 x 14 inches. Edition of 120. Souvenirs 1982, color lithograph, 13.5 x 10 inches. Edition of 200. The Other Room 1981 (Lundgren 232-SL), color lithograph, 13.5 x 9 inches. Edition of 150. Small Hilltop 1981 (Lundgren 241-SL), color lithograph, 10 x 13.5 inches. Edition of 120. Remembering 1981 (Lundgren231-SL), color lithograph, 22 x 28 inches. Edition of 120. Just beyond 1980 (Lundgren 216-SL), color lithograph, 14 x 16.75 inches. Edition of 275. Dark Fields 1980, (Lundgren228-SL), lithograph, 4 x 3 inches. Edition of 250. View more "In lithography my great excitement came from effects I can best describe as silvery, like ghosts of gray, grays faint yet fully drawn, with nuances that gave the appearance of images have been just breathed onto the stone, and from there with Burr [Miller]’s magic coaxed to the paper…When printing went smoothly the experience was deeply rewarding, a sense of well-being at having brought to life a vision that could have gone wrong in so many ways, at so many moments. These times were like gifts from an unpredictable printing god, and were the events that made painful failures endurable. It was essential to know my goals could be reachable." - Robert Kipniss, 2002 From 1968 to 1994, Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. A commission from a print publisher in 1968 for five editions of lithographs precipitated his adoption of lithography as a medium. Kipniss's first lithographs were done in black and white, but by 1970 he was also working in color. He taught himself "to lay in the most delicately light silvery tones on the surface of the limestone by maintaining an exceptionally sharp point on the lithographic pencil and drawing with no pressure other than the weight of the pencil itself." He built up a support so that his hand and wrist could "dangle" over the stone. By 1994 Kipniss had completed about 450 editions of lithographs, usually of 90 to 250 impressions, at the Burr Miller studio in Manhattan. He worked from 1969 with master printer Burr Miller and then with Steve and Terry, his sons. In 1980 Kipniss began to draw on aluminum to make all of his lithographs, and by 1986 he was achieving an increased subtlety in the use of color with a light palette including "greens, blues, pinks, browns, and grays," as a critic noted that year. He added: "Kipniss enhances the remarkable purity and elegance of line in these lithographs by his restrained use of color. The delicate hues of his prints are of such extraordinary subtlety that it is only on careful examination that the viewer can recognize how complex they are, requiring as many as eight different plates to produce a single print." In 1994 Kipniss's concern with densely drawn fine tones led to increased difficulties in printing, and he gave up the medium.

​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.

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.