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

Kipniss's early work consisted of abstractions, biomorphic forms, landscapes, cityscapes, still lifes, and figures. The majority of these works were landscapes of subdued color, often with few details, and loosely brushed. Large Trees at Dusk (1962) was one of several paintings and drawings in 1961 and 1962 which introduced a boldness of form and a more pronounced moodiness. < PAINTINGS Nine Trees 2018, oil on panel, 18 x 24 inches. A Celebration of Morning 2007, oil on canvas, 40 x 48 inches. Afternoon with Black and Gray trees 2005, oil on canvas, 30 x 40 inches. Vase & Leaves IV 2005, oil on canvas, 20.25 x 22 inches. Poised 2005, oil on panel, 14 x 12 inches. Testament 2005, oil on canvas, 28 x 32 inches. On Point 2004, oil on canvas, 36 x 25 inches. Intervention 2004, oil on canvas, 25 x 36 inches. Silver Morning II 2004, oil on canvas 22 x 28 inches. The Stage 2004, oil on canvas, 22 x 28 inches. Green, Green 2004, oil on canvas, 32 x 22 inches. Lace II 2003, oil on paper, 24 x 20 inches. Splash III 2003, oil on canvas, 28 x 22 inches. Evening Figures 2002, oil on canvas, 29.25 x 40 inches. Crossings 2002, oil on canvas, 24 x 18 inches. Hillside Illusions II 2001, oil on canvas, 32 x 22 inches. Shelter 2001, oil on canvas, 32 x 22 inches. Forest Interior 2001, oil on canvas, 40 x 29 inches. Trees and Shadows 2001, oil on canvas, 32 x 28 inches. Still Life with Curtains and Tree 2001, oil on panel, 24 x 16 inches. Silver Morning 2000, oil on canvas, 36 x 40 inches. Looking Through IV 2000, oil on canvas, 40 x 32.25 inches. Mist 1999, oil on canvas, 20 x 24 inches. Interior with Leaves 1999, oil on canvas, 24 x 24 inches. The Artist's Studio 1999, oil on canvas, 48 x 40 inches. View more Kipniss's early work consisted of abstractions, biomorphic forms, landscapes, cityscapes, still lifes, and figures. The majority of these works were landscapes of subdued color, often with few details, and loosely brushed. Large Trees at Dusk (1962) was one of several paintings and drawings in 1961 and 1962 which introduced a boldness of form and a more pronounced moodiness. The paintings and prints that followed, executed either in black and white or in color, include numerous variations in the shape, size, and placement of trees. Large Trees at Dusk exhibits the beginning of Kipniss's purification of tree forms, his use of closely related hues in a subdued or dark range, and the sense of solitude characteristic of his mature output. Of the paintings and prints since 1962, hundreds show the interplay of tree trunks, focusing on close or more distance views. In a review of the artist’s 1966 solo painting show at The Contemporaries, Time magazine wrote: "In the twilight zone between recollection and imagination, a New York painter has found a vista of mind and mood that he calls ‘the Inner Landscape.’ With hushed tones, feathered brushing and eerie chiaroscuro, he invests his scenes with the appearance of reality and the ambiance of dream." (“Art in New York,” Time, Feb 4, 1966: E2) Kipniss’s paintings in the late 1960s often exhibit vibrant, jewel-like undertones that lend pulsing energy to the composition and his rugged brushwork. In the 1970s and 1980s, Kipniss developed his mature style, composing his forms and spaces separately, working on each alternately after the paint has dried. He brushes between them and recomposes each area more than once, sometimes with five or six passes in order to get "the varied parts of the image to mesh together.” Continuing his exploration of landscape and its relationship to human experience, his brushwork began to be more refined. His palette also morphed to warm ochres, brick reds, and deep green earth tones. He often composed detailed studies of residential settings at the edges of open, undeveloped areas, seen at a distance. Fences and outbuildings often punctuate the scene. In the 1990s and early 2000s, Kipniss frequently turned to interior scenes, and his style once again shifted. His compositions of this period are atmospheric and moody, depicted in a palette of dark, cool colors. Forms are stylized, lacking detail, and there is an intense focus on the effects of light and shadow. The scene is set as within a domestic structure, with the landscape showing just beyond, through a window. Elements of the natural world are juxtaposed with plants and arrangements of flora as viewed from indoors; the two realms seem to meld in compositions such as Clear vase & landscape (1995) and Interior w/ leaves (1999). In Kipniss’s late phase, from 2000 to 2018, he returned to landscape, favoring a hazy pastel palette. Splash III (2003) and A celebration of morning (2007) are examples of Kipniss's paintings of this period which center trees extending into grassy landscapes, often in different effects of light. These paintings display his use of closely related tones, a strong accent on the purity of form, refined silhouetting, and pronounced luminosity.

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 Style and Isolation 2003 Kipniss discusses how he developed his mature style in relation to his youthful admiration of major painters of the late nineteenth century and his studies at The Art Students League and The University of Iowa, concluding, “The mistakes of my youth have led me to an interesting and rewarding maturity.” Downloadable PDF Self-portrait: Petersburg, Virginia (1957) oil on canvas, 24 x 24 in., Collection of The National Academy Museum, New York.

In 2011, as the artist turned 80, Kipniss in deep reflection on his life and career in multiple ways. He had just published his memoir, and had reviewed his early work as a poet in preparation for Robert Kipniss: Paintings and Poetry, 1950-1964. Here, for a solo exhibition of recent work, he considers the lessons that sixty years at the easel has brought and shares a particularly poignant and relevant poem he wrote in 1959 that lends its title to the exhibition. < Back to all essays Regard 1959 / 2011 In 2011, as the artist turned 80, Kipniss in deep reflection on his life and career in multiple ways. He had just published his memoir, and had reviewed his early work as a poet in preparation for Robert Kipniss: Paintings and Poetry, 1950-1964 . Here, for a solo exhibition of recent work, he considers the lessons that sixty years at the easel has brought and shares a particularly poignant and relevant poem he wrote in 1959 that lends its title to the exhibition. Downloadable PDF Springfield, O. III (2005), oil on canvas, 20 x 22 inches, exhibited in “Recent Paintings by Robert Kipniss” at the New Orleans Museum of Art, March 4 – May 14, 2006.

View and purchase books by and about Robert Kipniss. BOOKS Paintings & Poetry, 1950 - 1964 Overview and Details Available from the publisher Intaglios, 1982 - 2004 Overview and Details Consult Bookfinder for availability Paintings, 1950 - 2005 Overview and Details Consult Bookfinder for availability A Working Artist's Life Overview and Details Consult Bookfinder for availability Seen in Solitude Overview and Details Consult Bookfinder for availability The Graphic Work Overview and Details Consult Bookfinder for availability

Upon his acceptance of a lifetime achievement award from the Society of American Graphic Artists, Kipniss discusses his journey as a printmaker: first in etching, then lithography, and finally in mezzotint. He concludes with the observation that other printmakers are one of the finest aspects of practicing this art, due to the camaraderie they share. < Back to all essays Lifetime Achievement Award Address, SAGA 2007 Upon his acceptance of a lifetime achievement award from the Society of American Graphic Artists, Kipniss discusses his journey as a printmaker: first in etching, then lithography, and finally in mezzotint. He concludes with the observation that other printmakers are one of the finest aspects of practicing this art, due to the camaraderie they share. Downloadable PDF Robert Kipniss and Burr Miller at George C. Miller & Son, Lithographers, 20 W. 22nd Street, New York, New York, 1976

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

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

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

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/”.

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.