Kipniss created a handful of mezzotints from 1982-84 but did not focus on this medium intently until 1990. He had his first solo mezzotint show in New York in 1992. He also showed mezzotints in 1995 at his first solo print show in England, and that year they comprised his first show of prints in Germany. Tall Trees at Night (2001) is in five museum collections, including the Whitney Museum of American Art, New York City, and the British Museum and the Victoria and Albert Museum, both in London. < MEZZOTINTS Evening clouds 2021, mezzotint, 9.625 x 12 inches. Edition of 18. Crest 2019, mezzotint, 9.25 x 11.5 inches. Edition of 20. Passing storm OR Lifting storm 2018, mezzotint, 9.25 x 14 inches. Edition of 25. Lace V 2016, mezzotint, 4.5 x 5.75 inches. Edition of 20. Vase & four trees 2015, mezzotint, 7.5 x 6.25 inches. Edition of 25. Three trees 2015, mezzotint, 3 x 2.5 inches. Edition of 20. Fluttering OR (Five trees) fluttering 2014, mezzotint, 7.75 x 7 inches. Edition of 40. The artist as a tree 2014, mezzotint, 5.375 x 4.375 inches. Edition of 25. Trees & stars 2013, mezzotint, 11.75 x 9.375 inches. Edition of 30. A song of leaves 2013, mezzotint, 19.625 x 19.5 inches. Edition of 80. Tomorrow 2013, mezzotint, 14 x 9.25 inches. Edition of 30. Moonrise & sunset 2013, mezzotint, 7.75 x 7 inches. Edition of 30. Memories 2013, mezzotint, 7.875 x 7 inches. Edition of 40. Before morning: chimney & window 2010, mezzotint, 19.5 x 19.375 inches. Edition of 40. Reappearing 2009, mezzotint, 9.25 x 11.75 inches. Edition of 60. Silver Morning 2007, mezzotint, 6.375 x 4.5 inches. Edition of 300. Still life w/ knife & fruit 2007, mezzotint, 14 x 9.375 inches. Edition of 60. An island in the forest 2007, mezzotint, 19.5 x 19.5 inches. Edition of 70. For Laurie 2005, mezzotint, 17.75 x 23.75 inches. Edition of 90. Nocturne w/ six trees 2004 (Grace 139), mezzotint, 7 x 5 inches. Edition of 150. Nocturne: still live w/ two vases 2004, mezzotint, 19.5 x 13 inches. Edition of 75. Two vases 2004 (Grace 137), mezzotint, 19.5 x 15.375 inches. Edition of 100. Echo trees & shadow 2003, (Grace 129), mezzotint, 19.5 x 16.5 inches. Edition of 60. Revisitation 2003 (Grace 123), mezzotint, 7.875 x 7 inches. Edition of 60. Tall trees at night 2001 (Grace 115), mezzotint, 19.625 x 13.5 inches. Edition of 60. View more "A year after turning sixty, while immersing myself in mezzotint, I began to feel like a young artist again. Everything I worked at was filled with energy and intensity. I loved starting with a world of blackness and drawing the light. Every touch on the plate is a glint of illumination, and my burnisher is like a wand that reveals and defines form as I probe into the dark." - Robert Kipniss, 2011 Kipniss created a handful of mezzotints from 1982-84 but did not focus on this medium intently until 1990. He had his first solo mezzotint show in New York in 1992. He also showed mezzotints in 1995 at his first solo print show in England, and that year they comprised his first show of prints in Germany. Tall Trees at Night (2001) is in five museum collections, including the Whitney Museum of American Art, New York City, and the British Museum and the Victoria and Albert Museum, both in London. When a copper plate is roughened in preparation for working on it, thousands of tiny holes are produced on the surface of the plate to hold the ink. Kipniss's preference has been for mechanically roughened plates because of their greater uniformity. Unlike many makers of mezzotints, he prefers using a burnisher rather than a scraper for reducing the depth of the holes, a process that controls the amount of ink held on the plate. The burnisher allows him freer motion and a greater range of pressure, as a pencil would, giving him the ability to create an image that looks drawn rather than machine crafted. Over time, Kipniss sought "narrower ranges of middle tones" while still bringing out the richness and resonance of darks characteristic of mezzotints. He has worked with master printer Anthony Kirk from 2003 to the present, first when Kirk was associated with the Connecticut Center for Printmaking in Norwalk, Connecticut, and then at Kirk's own studio in North Salem, New York. Tall Trees at Night is one of Kipniss's many mezzotints that view trees fairly close up at dusk or night and show a play of light upon them. The characteristics that became increasingly prominent in his mature work, his concern with capturing the essence of form and with even more subtle light effects, are clearly apparent. The trees in Kipniss's mezzotints have an especially strong purity of form when only their trunks are depicted. Sometimes leaves are spread across the trees, adding more movement and increasing the technical challenge. Window w/vase & forest (2000) is representative of still lifes that show a vase of plant cuttings, most often of stems with leaves. The vase is generally viewed close up before a window on a surface that may or may not be visible. Occasionally the bottom part of the sash is showing, and usually trees are beyond. Here, part of the view into the distance is through three layers of glass, and the form to the left is part of a chest of drawers. A painting done in reverse predates this print, and in both Kipniss extemporized the pale, delicate scrim of trees. The print is in four major museum collections, among them the Metropolitan Museum of Art, New York City, and the Fine Arts Museums of San Francisco, California Palace of the Legion of Honor.

View recent and past newsletters from Robert Kipniss Studio. Subscribe to be added to our email list and get all the news directly to your inbox. Newsletters September 2025 Read June 2025 Read March 2025 Read

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

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 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 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/”.

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

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.

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.

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

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

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 2024 Retired from printmaking