This intriguing monograph of painter and printmaker Robert Kipniss is an intimate look at a memorable period in his life and career. Thoughtful and articulate from conception to completion, the artist's never-before-published poems are choreographed with his early paintings in this contemplation of the influential and foundational years from 1950 to 1964. Robert Kipniss: Paintings and Poetry, 1950 - 1964 Available from the publisher Monograph with paintings and poetry by the artist Preface by Robert Kipniss Introduction by Marshall N. Price, National Academy of Art Essay by Robin Magowan, Poet Published by The Artist Book Foundation, New York and North Adams, Massachusetts, 2013 This intriguing monograph of painter and printmaker Robert Kipniss is an intimate look at a memorable period in his life and career. Thoughtful and articulate from conception to completion, the artist's never-before-published poems are choreographed with his early paintings in this contemplation of the influential and foundational years from 1950 to 1964. Kipniss's own thoughts on this period of his career are accompanied by insightful essays by Marshall N. Price, curator of modern and contemporary art at the National Academy Museum, New York; and Robin Magowan, an award-winning poet based in Santa Fe. Preview Book < Back to all books

​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.

Robert Kipniss dabbled in editioned metalwork in the early 1970s: rings, belt buckles, bas-reliefs, and medallions were some of the formats he explored. < METALWORKS Autumn textures 1975, bronze, 8.75 x 9.75 x .25 inches. Edition of 500. Large landscape ca. 1970, bronze, 11.875 x 16.125 x 1.25 inches. Edition of 8. Untitled small landscape (horizontal) ca. 1970, bronze and silver editions, 5.625 x 3.75 x .825 inches. Two small editions of under 6. Untitled belt buckle ca. 1970, bronze, 2.0 x 2.0 x .375 inches. Small edition of under 6. Untitled medallion ca. 1970, bronze and silver editions, 1.5 x .125 inches. Two small editions of under 6. Untitled ring (rectangular face) & Untitled ring (circular face) ca. 1970, 14 carat gold and sterling silver editions, under 6 of each type. View more

Robert Kipniss has primarily worked in oil painting, lithography, and mezzotint over his seventy-year career. As a young man he was a poet and artist, abandoning poetry in 1964 to focus on painting, which he continued until 2018. From 1968 to 1994, he created over 450 lithographs. He is perhaps best known as one of the leading living practitioners of mezzotint, of which he has created over 275 editions, and has also made several drypoints and etchings. SELECTED ARTWORKS Learn more about the artworks here MEZZOTINTS View More PAINTINGS View More LITHOGRAPHS View More DRYPOINTS & ETCHINGS View More UNIQUE WORKS ON PAPER View More METALWORKS View More

Robert Kipniss has been interviewed by major organizations such as the Fort Wayne Museum of Art, the Alan Avery Art Company, and the Weinstein Gallery to name a few. Watch is videos via youtube or listen to the podcasts here. INTERVIEWS "Episode 146: Robert Kipniss" Interview by Miranda Metcalf Hello Print Friend June 28, 2022, Audio (podcast), 47:18 "The Painter, Printmaker, and Writer Robert Kipniss Talks About His Memoir Robert Kipniss: A Working Artist's Life " Interview by Tom Hill, Library Café, Vassar College Art Library September 15, 2021 "American Stories: Fort Wayne Museum of Art Presents Robert Kipniss" Interview by Charles Shepard Access Fort Wayne January 6, 2017 (YouTube), video, 36:18 “Interview for the exhibition Robert Kipniss: Intaglio and Oil" Weinstein Gallery, San Francisco October 15, 2004 Watch Highlight Reel (3:28) “Printmaker Robert Kipniss: As the Artist Turns 80, a Look Back” Interview by Ira Goldberg, LINEA: Journal of the Art Students League of NY (New York, New York) Spring, 2011 Read “Conversations with Robert Kipniss” Interview by Alison Armstrong American Arts Quarterly (Hastings- on-Hudson, NY: Newington-Cropsey Foundation) v. 26, no. 3 Summer 2009; republished in Alison Armstrong (Xlibris, 2019) Available from the Author

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 The Old Print Shop, New York, NY ebo Gallery, Millwood, NY CK Contemporary, San Francisco, CA Windsor Fine Art, New Orleans, LA Galerie d'Orsay, Boston, MA 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/”.

Donations in any amount are greatly appreciated. By choosing this option, you will not receive a gift. If you would like to receive a book or miniature print with your donation, please select a donation amount on the previous page. Go Build the Legacy! Donations in any amount are greatly appreciated. By choosing this option, you will not receive a gift. If you would like to receive a book or miniature print with your donation, please select a donation amount on the previous page. *Contributions to the Robert Kipniss Studio are not tax-deductible, as the Studio is not a nonprofit organization. All funds received directly support the research, documentation, and production of The Editions of Robert Kipniss:1967-2023. Amount $ 0/100 Comment (optional) Donate Facebook X (Twitter) WhatsApp LinkedIn Copy link

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.

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.

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.

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