Robert Kipniss

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Robert Kipniss
Born (1931-02-01) February 1, 1931 (age 91)
Brooklyn, NY
EducationAttended Wittenberg College (now Wittenberg University), Springfield, Ohio (1948–49); and University of Iowa, Iowa City, (B.A., 1952, English literature; Master of Fine Arts, 1954)
Alma materUniversity of Iowa
Known forContemporary art: landscapes and interiors: oil paintings, drawings, lithographs, mezzotints, and drypoints
Spouse(s)Laurie Lisle (1994–present)
Jean Prutton (1954–1982)

Robert Kipniss (born Brooklyn, New York, February 1, 1931) is an award-winning American painter and printmaker whose work has been shown in solo exhibitions at galleries and museums worldwide since 1951. He is a Royal Academician, an elected member of the National Academy of Design, New York, and holds two honorary doctorates. His work is held by more than eighty-eight museums and other institutions, including The Metropolitan Museum of Art, The Art Institute of Chicago, The Detroit Insitute of Arts, the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, the Whitney Museum of American Art, the Smithsonian American Art Museum, the Victoria and Albert Museum, London, and many others.

"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 Cézanne (1839-1906) and Giorgio Morandi (1890-1964), 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. To be sure, Kipniss's art has always clearly bespoken his independent spirit and lifelong embrace of solitude." — Daniel Piersol, curator of Seen In Solitude: Robert Kipniss Prints from the James F. White Collection, New Orleans Museum of Art.[1]


Kipniss's honors and awards are listed below, as well as the numerous public collections in which his work is held.[2] His work has been the subject of several solo exhibitions, major monographs, and catalogues raisonnés. Syracuse University Art Museum holds the most significant collection of his artworks and the Fort Wayne Museum of Art has established an archive of his work in connection with their Special Collections and Archives Initiative. The Allentown Art Museum also has substantial holdings of his lithographs from the late 1960s to mid 1980s.

In the United States, he has been represented by: The Contemporaries (1959–63), NYC; Hirschl & Adler Galleries, NYC (1976–81); FAR Gallery (1964–74); Merrill Chase Galleries, Chicago (1968-1990); Weinstein Gallery, San Francisco (1999–2014); Gerhard Wurzer Gallery, Houston, Texas (1981–2004); Beadleston Gallery, NYC (2000–2003); and Harmon-Meek Gallery, Naples, Florida (1976-2015). In Europe he has been represented by Redfern Gallery, London (1995–99) and Galerie Gerda Bassenge, Berlin (1999). He is currently represented by The Old Print Shop; Ebo Gallery, CK Contemporary, and Davidson Galleries.[3]

Kipniss's work has been shown in more than twenty-two museums across the United States and abroad. His first institutional solo exhibition was in 1965 at the Allen R. Hite Institute of the University of Louisville in Kentucky.[4] In 1980 a large solo show of paintings and prints took place at La Tertulia Museum in Cali, Colombia. In 2006 Kipniss was honored with a five-decade print retrospective consisting of eighty-six lithographs, mezzotints, and drypoints from the James F. White Collection, was shown at the New Orleans Museum of Art, New Orleans, Louisiana, in 2006.[5] The exhibition marked the celebratory reopening of the museum, six months after the devastation of Hurricane Katrina.[6] In 2016, he was given a major paintings retrospective at the Fort Wayne Museum of Art, Indiana, titled Robert Kipniss: The Whispering Light.[7]

A gigantic boulder floating in a misty forest at dawn.
Robert Kipniss.The balanced rock (2004). Oil on canvas, 40 x 36 inches. Copyright Robert Kipniss, 2022.


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."[8] 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 Paul Cézanne, Caspar David Friedrich, René Magritte, Giorgio Morandi, Mark Tobey, Tonalism,[9] the Hudson River School, and the Barbizon School, particularly Camille Corot.[10]

Kipniss himself has indicated various locations as important sources of inspiration, especially on his scenes with houses. The locations include the streets and neighborhoods of Springfield, Ohio, which he sometimes sketched during his first two college years and revisited in 1979, taking photographs and sketching alleys and streets at twilight. He returned over the next twenty years to continue sketching. In 1999 Kipniss described how this location influenced his artistic development: "‘The elements that remain a large part of my imagery all my working life began to emerge in these sketches: mysterious windowless houses, backyard fences, trees leafless in the off-season...My work remains unpopulated because I can then become as if the lone inhabitant, and when the work leaves my hands, who stands before it becomes for a moment me, alone, there.’"[11]

Other locations that inspired Kipniss were alleys in Columbus, Ohio, which he sketched in 1958.[12] In 1989 he briefly visited Elsah, Illinois, a small town on the Missouri River on the National Register of Historic Places, where the narrow streets and many limestone houses made an impression on him. He returned the next year to do sketches that became the basis of works in other mediums.[13] In 1993 the woods and fields of northwestern Connecticut have served as a rich source of subject matter.[13]


Kipniss was born in 1931 in Brooklyn, New York, to Simeon and Stella Kipniss, both of whom worked in Manhattan. His father, a Sunday painter, was employed for thirty-five years by Sears, Roebuck and Company as a layout director designing catalogue pages. Kipniss's mother, née Schwartz, drew fashion illustrations for many years for newspaper advertisements run by Gimbel's and other department stores. Kipniss's only sibling, a sister, Betty Ann, was born in 1936. The family moved to Laurelton, Long Island, that year and to Forest Hills, Queens, New York, in 1941. At age sixteen, Kipniss attended New York's Arts Students League on Saturdays. He began college in 1948, attending Wittenberg College in Springfield, Ohio, for two years before transferring to the University of Iowa, Iowa City, in 1950. He began writing poetry in 1948. After graduating with a B.A. degree in English literature in 1952, Kipniss stayed at the university and earned a Master of Fine Arts degree in 1954. By then he regarded himself primarily as a painter although he continued to write poetry.[14]

In 1951 Kipniss was awarded a solo show at The Creative Gallery, on 57th Street in Manhattan, as the result of a painting competition and showed semi-abstractions "suggesting romantic images of ethereal landscapes and half-grasped moments."[15] In 1953 the Harry Salpeter Gallery, also on 57th Street, gave him his second solo show.[16]

In 1954 Kipniss and his wife, Jean Prutton, moved to Manhattan, and he continued to paint. He was drafted into the U.S. Army in 1956 and assigned to the Instructional Aids Division of the Quartermaster Corps at Fort Lee, Virginia, where his drawing skills were put to use in making training aids. Discharged in 1958, Kipniss returned with his wife to Manhattan. That year he received representation at The Contemporaries, a Manhattan gallery, and showed there in 1959 and 1960. He continued what had become a routine, painting by day and working at the Manhattan General Post Office during the evenings; by 1964, he was able to earn his living creating paintings.[17] Throughout the 1960s and 1970s, his reputation continued to grow. He and Prutton have four children. The couple divorced in 1982.[14] Kipniss married his second wife, Laurie Lisle, a writer, in 1994.[18]

Since the early 1980s, Kipniss has maintained a studio on the Hudson River in Westchester County, New York. In 1998 he also established a printmaking studio at his residence in northwestern Connecticut.[12]


Kipniss's subject matter is landscapes, interiors, and still lifes, often described as conveying solitude and inward experience.[19] Human figures are excluded, and all forms are reduced to essentials. 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.[20][21][1][22][23] His prints are masterly meditations on mood and light using a restricted 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 1990, the latter since 1990.[20][21][1][22][23]

Kipniss prefers to capitalize only the first word of his titles, with the exception of proper nouns. He frequently uses shorthand for "with" and "and" as well, which appear as "w/" or "&" in his titles. This is his preference, not that these conjunctions be spelled out.[24]


Large trees at dusk (1962), oil on canvas, 36" x 40", Carnegie Museum of Art, Pittsburgh, Pennsylvania

Kipniss composes 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."[25] Kipniss's early work of the 1950s consisted of abstractions, biomorphic forms, landscapes, cityscapes, still lifes, and figures in a palette of vibrant earth tones, often with few details, and loosely brushed.[26] Large Trees at Dusk (1962, illustrated right) was one of several paintings and drawings in 1961 and 1962 which introduced a boldness of form and a more pronounced moodiness.[27] It is an early example of the artist'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.[28] In the review of a solo painting show in Manhattan in 1966, a Time magazine critic 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."[29] In subsequent decades, while maintaining a sustained engagement with trees and landscape, Kipniss began to incorporate unoccupied domestic structures and interiors into his compositions, suggesting a removed human presence; yet natural light and forms remained central. Late works of recent decades often show grassy landscape populated by various tree species in a more Impressionistic palette of pale hues.


Kipniss began to experiment with printmaking on his own in 1967 and the next year, a commission from a print publisher for five editions of lithographs precipitated his adoption of lithography as a medium.[30] From 1968 into 1990, Kipniss created hundreds of lithographs in dialogue with his painting practice.[31] Kipniss's first lithographs were black-and-white, but by 1970 he began to add color in some instances.[32] 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.[33]

A window showing a bare tree through a bedroom window, surrounded by sheer curtains, on a bright sunny day
Through bedroom curtains, 1983, color lithograph, edition of 120, image: 20 x 18 in.; sheet: 24 x 22 in.

In 1980 Kipniss began to draw on aluminum plates, and by 1986 he was achieving an increased subtlety in the use of color with a light palette. As a critic noted that year: "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."[34] For instance, in the lithograph Through bedroom curtains (1983), a scene also depicted in a 1981 painting,[35] Kipniss used six plates, with black, red, yellow, blue, green, or orange, for successive applications of color. He had begun painting interiors in his early work of the 1950s, and they frequently appear in his mature works.[20][21][1][22][23]

Kipniss worked from 1969 with master printer Burr Miller of George C. Miller & Son, New York, and later with Burr's sons, Steve and Terry, until 1990.[36] He completed about 450 editions of lithographs, usually of 90 to 120 impressions. A handful of his early lithographs were published by Associated American Artists, but most by his own galleries. In 1990 Kipniss's concern with densely drawn fine tones led to increased difficulties in printing, and he gave up the medium.[37]


Kipniss's first print and only etching was made in 1967. That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other techniques.[38] "Almost all of his drypoints have the large areas of white typical of that medium, creating much more of an effect of outdoor light than his mezzotints."[39] Springfield, O. (1992) shows the typical velvety black lines of the drypoint, caused when ink adheres to the raised burr next to the furrow, but Kipniss's lines are placed more tightly than is usual in drypoints.[40] The work is in three institutional collections, including the British Museum, London.[41]


Tall trees at night (2001), mezzotint, ed. of 60; artist's proofs 10, 19 58" x 1312"

Kipniss first explored mezzotint in 1982 and in a handful of works later that decade, but he did not delve into the technique in earnest until 1990 at the age of 59. It has since become foundational to his practice; its rich range of tone and deep blacks are well suited to his aesthetic concerns and he is now considered one of the foremost living practictioners of the medium.[42] [43] A mezzotint is created with a copper plate that has been roughened (either mechanically or by hand) with thousands of tiny holes on the surface in order to hold ink; a mezzotint plate that has not been touched by the artist, if printed, would be completely black, or whichever color ink is chosen for printing. It is a reductive or "negative" techique—the artist's task is to bring lighter tones into the composition from a fully effaced picture plane. Using metal tools, the artist smooths selective areas of the plate so they will hold more or less ink, resulting a purely tonal composition.[43] Kipniss's preference has been for mechanically roughened plates because of their greater uniformity. Unlike many artists working in mezzotint, 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.[44] Most of Kipniss's mezzotints have been printed in black, or a toned black. He has also experimented with printing them in color, particularly a sage-green hue, as in Reappearing (2009).

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.[45]

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 there is a group of trees, a house, or a vista 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.[46] A painting of the same subject predates this print, and in both Kipniss extemporized the pale, delicate scrim of trees.[47] 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.[48]

His early mezzotints were first shown in 1982 at The River Gallery, Irvington,[8] and there was a solo show exclusively of mezzotints in New York in 1992. He also showed mezzotints in 1995 at Redfern Gallery, his first solo print show in England, and that year they composed his first show of prints in Germany.[49] He has since shown this work frequently in many venues, including the Center for Contemporary Printmaking, Norwalk, CT, Syracuse University Art Galleries, and others. Tall Trees at Night (2001, illustrated right) 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.[50]

Kipniss has printed his mezzotints and drypoints with Susan Kleinman (1982–84); Bruce Cleveland (1990-92); Kathy Caraccio (1995-2002) and Anthony Kirk (2003–present), first when Kirk was associated with the Center for Contemporary Printmaking in Norwalk, Connecticut, and then at Kirk's own studio in North Salem, New York.[51]

Writings and illustrated books[edit]


Thirty-eight of Kipniss's poems were included in Robert Kipniss Paintings and Poetry 1950–1964 (2013). The book compares the mood and content of his poetry with his transitional and early mature paintings and prints.[52]

Kipniss's memoir, Robert Kipniss: A Working Artist's Life (University Press of New England, 2011, 259 pages), describes his artistic techniques and aspects of his career and personal life.[53]


Kipniss has illustrated two volumes of poetry. For Selected Poems of Rainer Marie Rilke (1981), he created ten black and white lithographs which were reproduced in an edition of two thousand by the Limited Editions Club.[54] An edition with ten color lithographs, each individually signed and numbered, with the accompanying poems, and enclosed in an emerald linen clamshell box, was published in an edition of 120.[55] Comparing the lithographs with the poems, American poet Robin Magowan has written: "Both Kipniss and Rilke are exponents of inwardness, creating meditative enigmas to which we can keep returning without piercing their mysteries. The works share a silence that carries something of an ascetic, a purging of excess and an attendant appreciation of a restraint that goes far beyond mere poetic concision. Giving in to the spell cast by this highly wrought silence, we find ourselves waking to realities normally hidden—even to what might be called the unknown, the abiding mystery of existence."[56]

Kipniss also illustrated Poems of Emily Dickinson, selected by Helen Plotz (New York: Thomas Y. Crowell Co, 1964, reprinted 1988) with twenty-six drawings.[57] A New York Times book review called them "superb."[58]

Honors and awards[59][edit]

Honorary doctorates[edit]

  • Illinois College, Jacksonville, IL, 1989
  • Wittenberg University, Springfield, OH, 1979

Elected to[edit]

  • Royal Society of Painter-Printmakers, London, England, 1998
  • National Academy of Design, New York, NY, 1980, full membership

Lifetime achievement awards[edit]

  • The Benjamin West Clinedinst Memorial Medal for lifetime achievement in art, given by The Artists’ Fellowship, Inc., New York, NY, 2010
  • Society of American Graphic Artists, New York, NY, 2007

Selected museum and other institutional collections holding paintings and/or prints[edit]

The material in the following list is collected from major sources on Robert Kipniss cited in the footnotes, as well as from catalogues, brochures, and press releases through April 2016.

Holdings of five or more prints are indicated by an asterisk (*).

  • Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, California Palace of the Legion of Honor*
  • Albertina Museum, Vienna, Austria*
  • Albright-Knox Art Gallery, Buffalo, NY
  • Arkansas State University Permanent Collection, State University, AR
  • Art Institute of Chicago, Chicago, IL
  • Art Museum of Western Virginia, Roanoke, VA
  • Art Students League of New York, New York, NY
  • Bates College Museum of Art, Lewiston, ME
  • Berkshire Museum, Pittsfield, MA
  • Bibliothèque nationale de France, Paris*
  • Boston Athenæum, Boston, MA
  • Bowdoin College Museum of Art, Brunswick, ME*
  • British Museum, London, England*
  • Brooklyn Museum of Art, Brooklyn, NY*
  • Butler Institute of American Art, Youngstown, OH
  • Canton Art Institute, Canton, OH
  • Carnegie Museum of Art, Pittsburgh, PA
  • Century Association, New York, NY
  • Cleveland Museum of Art, Cleveland, OH*
  • Columbus Museum of Art, Columbus, OH
  • Coos Art Museum, Coos Bay, OR*
  • Cornell Fine Arts Museum, Winter Park, FL*
  • Cornell University, Herbert F. Johnson Museum of Art, Ithaca, NY
  • De Cordova Museum and Sculpture Park, Lincoln, MA
  • Denver Art Museum, Denver, CO
  • Detroit Institute of Arts, Detroit, MI*
  • Dubuque Museum of Art, Dubuque, IA
  • Elvehjem Museum of Art, University of Wisconsin-Madison, WI
  • Everson Museum of Art, Syracuse, NY*
  • Federal Reserve Board Fine Arts Program, Washington, DC*
  • Fitzwilliam Museum, University of Cambridge, Cambridge, England
  • Flint Institute of Arts, Flint, MI*
  • Fort Wayne Museum of Art, Fort Wayne, IN
  • Gibbes Museum of Art, Charleston, SC
  • Harvard University Art Museums, Cambridge, MA
  • Heckscher Museum of Art, Huntington, NY*
  • Hobart and William Smith Colleges, Davis Gallery, Geneva, NY*
  • Hofstra University Museum, Hempstead, NY*
  • Hunter Museum of Art, Chattanooga, TN
  • Indianapolis Museum of Art, Indianapolis, IN
  • Lakeview Museum of Arts and Sciences, Peoria, IL
  • Library of Congress, Washington, DC
  • Los Angeles County Museum of Art, Los Angeles, CA
  • Maier Museum of Art, Randolph College, Lynchburg, VA*
  • McNay Art Museum, San Antonio, TX*
  • Metropolitan Museum of Art, New York, NY*
  • Minnesota Museum of American Art, Saint Paul, MN
  • Mint Museum of Art, Charlotte, NC
  • Mississippi Museum of Art, Jackson, MS*
  • Montclair Art Museum, Montclair, NJ*
  • Morgan Library & Museum, New York, NY
  • Munson-Williams-Proctor Arts Institute, Utica, NY
  • Museo La Tertulia [formerly Museo de Arte Moderno La Tertulia], Cali, Colombia
  • Museum of Fine Arts, Boston, MA
  • Museum of Fine Arts, Houston, TX
  • National Academy Museum [formerly National Academy of Design], New York, NY
  • Nelson-Atkins Museum of Art, Kansas City, MO
  • New Britain Museum of American Art, New Britain, CT*
  • New Orleans Museum of Art, New Orleans, LA*
  • New York Public Library, Print Collection, New York, NY
  • Orlando Museum of Art, Orlando, FL*
  • Philadelphia Museum of Art, Philadelphia, PA
  • Portland Art Museum, Portland, OR
  • Rhode Island School of Design, Museum of Art, Providence, RI
  • Royal Society of Painter-Printmakers, London; housed at the Ashmolean Museum, Oxford, England
  • Rutgers, State University of New Jersey, Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ
  • Smithsonian American Art Museum (formerly National Museum of American Art), Washington, DC*
  • Southern Alleghenies Museum of Art, Loretto, PA
  • Springfield Art Museum, Springfield, MO
  • Springfield Museum of Art, Springfield, OH*
  • St. Lawrence University, Richard F. Brush Art Gallery, Canton, NY*
  • Staatliche Graphische Sammlungn München, located in the Pinakothek der Moderne, Munich, Germany*
  • Stanford University, Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, CA*
  • Syracuse University Art Galleries, Syracuse, NY*
  • Tacoma Art Museum, Tacoma, WA
  • University of Iowa Museum of Art, Iowa City, IA*
  • University of Minnesota, Frederick R. Weisman Art Museum, Minneapolis, MN
  • University of Richmond Museums, Joel and Lila Harnett Museum of Art, Richmond, VA*
  • University of Rochester, Memorial Art Gallery, Rochester, NY*
  • University of Wisconsin-Green Bay, Lawton Gallery, Green Bay, WI*
  • Vassar College, Frances Lehman Loeb Art Center, Poughkeepsie, NY
  • Victoria and Albert Museum, London, England*
  • Virginia Museum of Fine Arts, Richmond, VA*
  • Whitney Museum of American Art, New York, NY*
  • Wichita Falls Museum and Art Center, Wichita Falls, TX
  • Williams College Museum of Art, Williamstown, MA*
  • Wittenberg University, Springfield, OH
  • Yale University Art Gallery, New Haven, CT*


An interior of a university art gallery, showing several artworks by Kipniss on the walls.
Exhibition view from "Seen in Solitude: Robert Kipniss Prints from the James F. White Collection," at the Joel & Lila Harnett Museum of Art, University of Richmond Museums, August 24-October 1, 2006.

The material in each of the following lists is collected from major sources on Robert Kipniss cited in the footnotes, as well as from catalogues, brochures, and press releases since April 2016.

Selected solo museum or other institutional exhibitions[edit]

Fort Wayne Museum of Art Fort Wayne, IN 2016-17
Syracuse University Art Museum Syracuse, NY 2016
Syracuse University Lubin House, Louise and Bernard Palitz Gallery New York, NY 2015
Wichita Falls Museum of Art Wichita Falls, TX 2015
The Center for Contemporary Printmaking Norwalk, CT 2012
Springfield Art Museum Springfield, MO 2010, 2003
Mississippi Museum of Art Jackson, MS 2008
McNay Art Museum San Antonio, TX 2007
New Orleans Museum of Art New Orleans, LA 2006
Orlando Museum of Art Orlando, FL 2006
University of Richmond Museums, Joel and Lila Harnett Museum of Art Richmond, VA 2006
Butler Institute of American Art Youngstown, OH 1999
Tyler Museum of Art Tyler, TX 1999
Wichita Falls Museum and Art Center Wichita, TX 1997
Illinois College Jacksonville, IL 1989
Springfield Museum of Art Springfield, OH 1985, 1983
Institute of Contemporary Art Nagoya, Japan 1984
Bruce Museum of Arts and Science Greenwich, CT 1981
Museo La Tertulia [formerly Museo de Arte Moderno La Tertulia] Cali, Colombia 1980, 1975
Canton Art Institute Canton, OH 1979
Kalamazoo Institute of Arts Kalamazoo, MI 1975
University of Louisville, Allen R. Hite Institute Louisville, KT 1965

Selected solo gallery exhibitions[edit]

Harmon-Meek Gallery Naples, FL 2015, 2008, 2006, 2002
The Old Print Shop New York, NY 2014, 2010, 2007, 2004
Weinstein Gallery San Francisco, CA 2013, 2011, 2009, 2007, 2004, 2002, 2001, 2000
Franklin Riehlman Gallery New York, NY 2012
Acme Fine Art Boston, MA 2009
Beadleston Gallery New York, NY 2003, 2001
Bassenge Gallery Berlin, Germany 1999
Gerhard Wurzer Gallery Houston, TX 1999, 1997, 1988, 1986, 1981
Molesey Gallery East Molesey, Surrey, England 1999, 1995
Redfern Gallery London, England 1999, 1995
Davidson Gallery Seattle, WA 1999, 1993, 1983, 1982
Gallery New World Düsseldorf, Germany 1998, 1995
Jane Haslem Gallery Washington, DC 1998, 1976
Hexton Gallery New York, NY 1997, 1996, 1995, 1994
Venable/Neslage Gallery Washington, DC 1997, 1995
The Century Association New York, NY 1996
Taunhaus Gallery Osaka and Kanazawa, Japan 1994
Theodore B. Donson Gallery New York, NY 1992
OK Harris Works of Art New York, NY 1991
Enatsu Gallery Tokyo, Japan 1990, 1988, 1987
Haller-Griffin Gallery Washington Depot, CT 1985
John Szoke Gallery New York, NY 1985
Nancy Teague Gallery Seattle, WA 1983, 1982
Payson/Weisberg Gallery New York, NY 1983, 1981
Gage Gallery Washington, DC 1981
Hirschl & Adler Galleries New York, NY 1980, 1977
Associated American Artists (AAA) New York, NY 1977
Galeria de Arte Lima, Peru 1977
G. W. Einstein Gallery New York, NY 1977, 1976
Galeria San Diego Bogota, Colombia 1977, 1975
"9" Galeria de Arte Lima, Peru 1976
Centro de Arte Actual Pereira, Colombia 1975
Xochipili Gallery Rochester, MI 1975
FAR Gallery New York, NY 1975, 1972, 1970, 1968
The Contemporaries New York, NY 1967, 1966, 1960, 1959
Alan Auslander Gallery New York, NY 1963
Harry Salpeter Gallery New York, NY 1953
Creative Gallery New York, NY 1951

Selected group exhibitions in museums and other institutions[edit]

Figge Art Museum Davenport, IA 2015
Fort Wayne Museum of Art Fort Wayne, IN 2015
Heckscher Museum of Art Huntington, NY 2015, 2013
Hofstra University Museum Hempstead, NY 2015, 2013, 2012
The Lauren Rogers Museum of Art Laurel, MS 2015
University of Richmond, Joel and Lila Harnett Museum of Art Richmond, VA 2015, 2010
Cornell Fine Arts Museum Winter Park, FL 2014 (2 shows)
Metropolitan Museum of Art New York, NY 2013–2014, 2010
New Britain Museum of American Art New Britain, CT 2011, 2006
Mississippi Museum of Art Jackson, MS 2009 (2 shows)
Syracuse University, SUArt Gallery Syracuse, NY 2009
Syracuse University, Palitz Gallery, part of the SUArt Gallery New York, NY 2009
Arkansas Arts Center Little Rock, AR 2008
Naples Museum of Art Naples, FL 2008, 2007
Art Students League of New York Traveling Exhibition: New York, NY 2006–2008
Owensboro Museum of Art Owensboro, KT
Cape Museum of Fine Arts Dennis, MA
Brunnier Art Museum Ames, IA
Southern Vermont Art Center Manchester, VT
Hillstrom Museum of Art St. Peter, MN
Lowe Art Museum Coral Gables, FL
Pensacola Museum of Art Pensacola, FL
Fort Wayne Museum of Art Fort Wayne, IN
Long Island Museums of American Art Stony Brook, NY
University of Richmond Museums, Joel and Lila Harnett Museum of Art Richmond, VA 2006
Rutgers University, State of New Jersey, Jane Voorhees Zimmerli Art Museum New Brunswick, NJ 2005
Berkshire Museum Pittsfield, MA 2005
Orlando Museum of Art Orlando, FL 2003
Everson Museum of Art Syracuse, NY 2003, 2002, 2001, 2000, 1999, 1998, 1997
Art Museum of Western Virginia Roanoke, VA 2002
Tacoma Art Museum Tacoma, WA 2002
Royal Academy London, England 2001
New Orleans Museum of Art New Orleans, LA 2001, 2000, 1999, 1998, 1997, 1996
British Museum London, England 2000
Ashmolean Museum, works from
the Royal Society of Painter-Printmakers
Oxford, England


National Academy Museum [formerly the National Academy Museum] New York, NY 1999
University of Cambridge, Fitzwilliam Museum Cambridge, England 1999
American Academy of Arts and Letters New York, NY 1988
Museo La Tertulia [formerly Museo de Arte Moderno La Tertulia] Cali, Colombia 1978, 1976
Kalamazoo Art Institute Kalamazoo, MI 1975
Westmoreland Museum Pittsburgh, PA 1974, 1973, 1972
New York Public Library New York, NY 1972
Whitney Museum of American Art New York, NY 1972
American Federation of Arts Traveling Exhibition: 1963–65
Vanderbilt Gallery Nashville, TN
Cornell University, Andrew Dickson White Museum Ithaca, NY
Davenport Municipal Art Gallery Davenport, IA
Utah Museum of Fine Arts Salt Lake City, UT
University of Manitoba Winnipeg, Manitoba, Canada
West Virginia University Morgantown, WV
Cranbrook Academy of Art Bloomfield Hills, MI
Paul Sargent Gallery Charleston, IL
Herron Museum of Art Indianapolis, ID 1964
Tweed Gallery, University of Minnesota Duluth, MN 1962
Columbus Museum of Art Columbus, OH 1957
Massillon Museum Massillon, OH 1957
Butler Art Institute Youngstown, OH 1953

Selected group exhibitions in Galleries[edit]

The Forbes Galleries New York, NY 2004
USB PaineWebber Art Gallery New York, NY 2002
Tahir Gallery New Orleans, LA 1981
International Exhibition of Original Drawings Rijeka-Dolac, Yugoslavia 1976
Graham Gallery New York, NY 1964
Osborne Gallery New York, NY 1963
Nordness Gallery New York, NY 1961
Sheldon Swope Gallery Terre Haute, ID 1961


  1. ^ a b c d Daniel Piersol, Seen in Solitude: Robert Kipniss Prints from the James F. White Collection (New Orleans, Louisiana: New Orleans Museum of Art, 2005).
  2. ^ See the list of collections holding Kipniss's works accompanying this article and: Trudie A. Grace and Thomas Piché, Robert Kipniss Intaglios: 1982-2004, catalogue raisonné (Hudson Hills Press, 2004),179–81; Piersol, Seen in Solitude, 101–102; Boyle, Richard J. & E. John Bullard. Robert Kipniss: Paintings, 1950-2005. New York: Hudson Hills Press, 2007), 142-44; and Robin Magowan. Robert Kipniss: Paintings and Poetry, 1950-1964 (The Artist Book Foundation, 2013), 133–35.
  3. ^ "Robert Kipniss - Robert Kipniss". Retrieved 2022-05-16.
  4. ^ For chronologies on Kipniss's major museum and other institutional exhibitions, see the accompanying lists and Grace, 179–83; Piersol, 103–06; Boyle, 142-43; and Magowan,135-39 (
  5. ^ "Seen in Solitude: Robert Kipniss Prints from the James F. White Collection and Recent Paintings by Robert Kipniss". Retrieved 2022-05-16.
  6. ^ open-with-a-salute-to-the-arts-55233227.html. Bullard, Foreword, in Paintings, ix–x.
  7. ^ "Robert Kipniss: The Whispering Light". FWMoA. Retrieved 2022-05-16.
  8. ^ a b Caldwell, John (October 10, 1982). ""KIPNESS [sic.] LENDS VISION TO REALIST SCHOOL"". The New York Times. pp. section 11, p. 28. Retrieved 2022-05-07.
  9. ^ Boyle, Richard J. (2007). Robert Kipniss: Paintings 1967-2006. New York & Manchester: Hudson Hills. pp. 10–12. ISBN 9781555952808.
  10. ^ Piersol, on Asher B. Durand, 10, and on a kinship with George Inness and Mark Tobey, 12–13. Boyle, "Solitude and Silence," in Paintings, on a kinship with Casper David Friedrich, Tonalism, and Giorgio Morandi, 10–11.
  11. ^ Boyle, "Solitude and Silence," in Paintings, 2, quoting Kipniss from the exhibition brochure, Harmon-Meek Gallery, 1999, n.p. For works depicting Springfield, Ohio, from other views and in other mediums, see Paintings, passim; Piersol, passim; Intaglios, passim; Kipniss, Artist's Life, pl. 22.
  12. ^ a b Robert Kipniss, Robert Kipniss: A Working Artist's Life (Lebanon, New Hampshire: University Press of New England, 2011), 125.
  13. ^ a b Chronology, in Intaglios, 175.
  14. ^ a b Chronology, in Intaglios, passim.
  15. ^ Chronology, in Intaglios, passim, 168. D. A. [Dore Ashton], Art Digest, 26, no.1 (1 October 1951).
  16. ^ Chronology, in Intaglios, 169.
  17. ^ Chronology, in Intaglios, 169–71.
  18. ^ Weddings (December 18, 1994). "Laurie Lisle, Robert Kipniss". The New York Times. pp. Section 1, Page 82. Retrieved 2022-05-07.
  19. ^ "Art in New York," Time 87, no. 5 (4 February 1966). Lunde, in Graphic Work, on "individual in isolation," 15. Bullard, Foreword, in Paintings, on "meditative silence" in Kipniss's paintings and prints, x.
  20. ^ a b c Robert Kipniss:Paintings and Poetry 1950–1964; Preface, "Comments by the Artist and Poet" by Robert Kipniss; Introduction, "Ut Pictura Poesis: The Coming of Age of Robert Kipniss," by Marshall N. Price; "Remembrance and Prophecy: The Journey of a Poet-Painter" by Robin Magowan (New York: The Artist Book Foundation, 2013).
  21. ^ a b c Robert Kipniss: Paintings 1950–2005; Foreword by E. John Bullard; "Solitude and Silence: The Paintings of Robert Kipniss" by Richard J. Boyle; "Notes from the Studio" by Robert Kipniss (New York and Manchester: Hudson Hills Press, 2007).
  22. ^ a b c Robert Kipniss: Intaglios 1982–2004, Catalogue Raisonné; Introduction and Documentation by Trudie A. Grace; "Robert Kipniss: In-Between" by Thomas Piché Jr.; Chronology (New York and Manchester: Hudson Hills Press, 2004).
  23. ^ a b c Robert Kipniss: The Graphic Work; Preface by Karl Lunde (New York: Abaris Books, 1980).
  24. ^ Robert Kipniss, "Record of mezzotints, with later drypoints" (personal papers), unpublished material, ca. 1982-2005, p. 2.
  25. ^ Kipniss, Artist's Life, 166–67.
  26. ^ Boyle, "Solitude and Silence," in Paintings, 5. Kipniss, "Comments by the Artist and Poet," in Paintings and Poetry, 8.
  27. ^ Boyle, "Solitude and Silence," in Paintings, 7–8, 13. Paintings and Poetry, images 56–58 and Price, "Ut Pictura Poesis," 16: "Kipniss made a breakthrough with a series of large drawings that were less restrained and more aggressively rendered than any of his previous work."
  28. ^ See the books cited in footnotes 1–5 for mature paintings and prints that follow Kipniss's seminal works.
  29. ^ "Art in New York," Time.
  30. ^ Kipniss, Artist's Life, 176.
  31. ^ Lunde, Preface, in Graphic Work, on lithographs following drawings and paintings, 11.
  32. ^ For working in color in lithographs, Lunde, Preface, in Graphic Work, 10–13. Kipniss, Artist's Life, 190. Piersol, 6.
  33. ^ Lunde, Preface, in Graphic Work, for Kipniss's lithographic technique, 11–13. Kipniss, Artist's Life, on technique when doing lithographs, 205. For a detailed discussion of the making of his lithographs, see Robert Kipniss, "Recollections: Printmaking Experiences," Printmaking Today, 5, no. 1, 1996, 8–10.
  34. ^ Dennis Weyman, "The inner eye of Robert Kipniss," Artspeak (1 November 1986), 11.
  35. ^ The oil on canvas version of this subject (1981) is in Paintings, pl. 16, 40" x 36", Collection of Janet Lippmann. Piersol, 8, on the range of hues in Kipniss's lithographs of the 1970s and 1980s and how they "brought a new sensuousness and richness to his prints" while "At same time, his compositions—especially the interiors—grew in complexity, sophistication and scale."
  36. ^ Chronology, in Intaglios, 172. Piersol, 5–6, and Kipniss, "Soliloquy," 22–23. Kipniss, Artist's Life, 177–78.
  37. ^ Chronology, in Intaglios, 175. Piersol, 6.
  38. ^ Chronology, in Intaglios, on when Kipniss began drypoints, 172. Grace, Introduction, on smaller numbers of drypoints, 4–5. Kipniss, Artist's Life, on his drypoints, 175–76.
  39. ^ Grace, Introduction, in Intaglios, 5.
  40. ^ Kipniss, Artist's Life, on drypoint technique, 191. For works depicting Springfield, Ohio, in other views and in other mediums, see Paintings, passim; Piersol, passim; Intaglios, passim; Kipniss, Artist's Life, pl. 22.
  41. ^ Intaglios, 153. The work is also in the collections of the New York Public Library Print Collection and the Wichita Falls Museum and Art Center, Wichita Falls, Texas.
  42. ^ Hansen, T. Victoria (1997). Evolving Forms/Emerging Faces: Trends in Contemporary American Printmaking. New Brunswick, N.J.: Jane Voorhees Zimmerli Art Museum, Rutgers, the State University of New Jersey. pp. 67–68. ISBN 767692814. {{cite book}}: Check |isbn= value: length (help)
  43. ^ a b Wax, Carol (1996). Mezzotint: Art of Darkness: an Exhibition of Classical and Contemporary Mezzotints. New Orleans, LA: New Orleans Museum of Art. p. 63. ISBN 1099877287. {{cite book}}: Check |isbn= value: checksum (help)
  44. ^ Kipniss, Artist's Life, on narrower range, 234. Grace, Introduction, in Intaglios, for Kipniss's mezzotint technique, 1–2.
  45. ^ Grace, Introduction, in Intaglios, 3–4. Piersol, 14–15.
  46. ^ Piersol, 14–15, on still lifes and a description of Window w/vase & forest: "Kipniss places huge, sinuous leaves on diagonal branches. Illuminated from behind, their botanical shapes stand in bold contrast to the dark rectangular elements of the interiors." Intaglios, for plates showing interiors with a vase, passim. Lunde, Preface, in Graphic Work, on the content of interiors, 8–9.
  47. ^ Intaglios, for further information on the painting Interior w/leaves (1999), oil on panel, 24" x 24", private collection, pl. G101-ptg and 161.
  48. ^ Intaglios, for museum collections holding Window w/vase & forest, 161. This work is also in the collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California.
  49. ^ See the lists accompanying this article.
  50. ^ Intaglios, for the museums holding Tall Trees at Night, 163. The list includes the print collection of the New York Public Library.
  51. ^ Grace, Intaglios, 151.
  52. ^ Price, "Ut Pictura Poesis," on the relationship between Kipniss's poetry and artwork, 11; and Kipniss, "Comments by the Artist and Poet," on his poems never having been published in their own right, 7, in Paintings and Poetry.
  53. ^ Kipniss, Artist's Life, passim.
  54. ^ Rainer Maria Rilke, Selected Poems of Rainer Maria Rilke, with English translations by C. F. MacIntrye, Preface by Harry T. Moore, and lithographs by Robert Kipniss (New York: Limited Editions Club, 1981).
  55. ^ Kipniss, Robert; Rilke, Rainer Maria (1981). A suite of ten lithographs. OCLC 13861299.
  56. ^ Magowan, "Remembrance and Prophecy," in Paintings and Poetry, 87. Boyle, "Solitude and Silence," in Paintings, for the kinship of Kipniss's paintings and the poetry of Rilke, 1.
  57. ^ Emily Dickinson, Poems of Emily Dickinson, selected by Helen Plotz, drawings by Robert Kipniss (New York: Thomas Y. Crowell, 1964).
  58. ^ Paul Engle, "The Ever-Echoing Avenues of Song," New York Times, 10 May 1964, Book Review section.
  59. ^ Magowan, 131-139.

External links[edit]