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Robert Kipniss2 Lovely Robert Kipniss Lithographs titled "Leaning" & "Interiors"c. 1988
c. 1988
$1,000
£749.32
€878.42
CA$1,400.49
A$1,569.71
CHF 821.77
MX$19,369.32
NOK 10,322.92
SEK 9,717.14
DKK 6,553.04
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About the Item
Robert Kipniss (American, b. 1931)
Left:
Leaning, c. 1988
Lithograph
Sight: 5 1/4 x 4 in.
Framed: 11 x 9 3/4 x 3/4 in.
Numbered lower left: 53/175
Signed lower right: Kipniss
Right:
Interiors, c. 1988-1989
Lithograph
Sight: 9 1/4 x 7 in.
Framed: 16 x 13 1/8 x 1/2 in.
Numbered lower left: 34/150
Signed lower right: Kipniss
Both works bear label of Newmark Gallery verso
Robert Kipniss, painter and printmaker, was born in New York City in 1931. He creates essentially monochromatic*, stylized vistas with natural and architectural elements intended to evoke an elegiac, nearly surrealistic mood in haunting, silent landscapes; the melancholy of nostalgia. Trees, in mid and far-distance, form clusters or act as misty individuals containing a haunted, indefinable presence, witnesses to the foreground drama of more specific shape, form and detail, often a close-up tree.
Kipniss studied at the Art Students League* in 1947; Wittenberg University in Springfield, Ohio, 1948-50; and the University of Iowa, receiving a BA degree in English literature in 1952, and an MFA in painting and art history in 1954. The artist employs a meticulous technique combining a multiplicity of specific strokes, whether with brush, pencil or print-maker's needle and burin*, to create the essence of his generalized, non-specific forms.
Light and darkness are clearly Kipniss' compositionally constructive elements. They also exist as contestants in the emotional drama at the heart of each work of art. The contrast, and sometimes combat, between these two opposites, symbolically represent with blackness -- ideas of threat, fear, trouble, evil; with whiteness safety, redemption, fulfillment and good.
In Kipniss' 1995 mezzotint*, Clear Vase and Landscape, with a foreground image of precisely leafy stalks, the vase holding them, nearly invisible in its transparency, suggests an almost Salvador Dali-like surrealist device. This central image dominates but seems to invite association with, and commentary from, the surrounding clumps and individual round-topped, yet cedar-like trees. His mezzzotint, For Stella," 1997, depicts a gently twisting, curving, pale and smoothly-barked foreground, leafless tree limb or trunk, like a female human body, suggesting weakness, fatigue, an inability to deal with the staccato background screen of textured bush that seems to uncomfortably impinge upon it. This print is arguably a metaphor for a delicate soul struggling to overcome the prickly difficulties of domineering life.
The classic mezzotint process, invented in the middle of the 17th Century, is the reverse of most of the other print-making media, since the artist works from a black ground to increasingly lighter areas. The copper plate is first roughened by a "rocker," creating a burr over the entire surface (the more burr left intact, the more ink it holds, the darker the final finished print). The artist, Robert Kipniss, in this instance, gradually burnishes, smoothes down the burr in varying degrees to produce the gradations of lights and darks of the final design. The deepest darks in the final picture are those areas on the plate that have been little touched after the initial roughening.
Mezzotint relies on shade and tone rather than outline for its effect, which fits the Kipniss style of atmospheric* masses of value. A recent oil painting by Robert Kipniss, Hillside Silhouettes, 2001, 40 x 29, is somewhat more complex in composition than many, with four cubically-constructed houses each set in their own zones, seemingly unrelated to one another, with receding hills and similarly isolated, increasingly misty trees beyond.
In his career, Robert Kipniss has had over 40 one-man shows since the first in New York in 1951, including an important retrospective exhibition at the Associated American Artist Gallery, New York in 1977. Many of these one-man exhibitions have been mounted by over 50 museums in the United States, South America and Europe, including the Chicago Art Institute, Metropolitan Museum of Art, Museum of Modem Art, Whitney Museum of American Art, Library of Congress and British Museum in London.
Robert Kipniss is represented in the permanent collections of the institutions above, among many others, as well as the Philadelphia Museum of Art; New York Public Library; Museum of Fine Arts, Boston; Detroit Art Institute; Yale University Museum; National Collection of Fine Arts, Smithsonian Institution; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Portland Art Museum; and the New Orleans Museum of Art.
He was elected to the National Academy of Design* in 1980, and to the Royal Society of Painter-Printmakers, London in 1998
Robert Kipniss can be referenced in numerous publications, including Who's Who in American Art from the 1950s to the present, and multiple reviews in periodicals like Art News, Art in America and Art Forum. There are also three important catalogues raisonne published on his work. (Bio sourced from the Archives of AskArt)
- Creator:Robert Kipniss (1931)
- Creation Year:c. 1988
- Dimensions:Height: 16 in (40.64 cm)Width: 13.125 in (33.34 cm)Depth: 0.5 in (1.27 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Not examined outside of the frames.
- Gallery Location:New York, NY
- Reference Number:Seller: BU41stDibs: LU2211214870362
Robert Kipniss
Robert Kipniss was born in 1931 in New York City. He has studied at the Art Students League, Wittenberg University and the University of Iowa, where he received his BA and MFA in painting and art history. Kipniss spent many years making lithographs from stone, aluminum and Mylar plastic. He then switched to pre rocked mezzotint plates of copper, which create his signature soft and dreamy images. Kipniss's works are in the Metropolitan, Boston MFA and the Smithsonian, among many.
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