art.wikisort.org - Artist

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 (retired), 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 Institute 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]

Robert Kipniss
Born	(1931-02-01) February 1, 1931 (age 91) Brooklyn, NY
Nationality	American
Education	Attended 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 mater	University of Iowa
Known for	Contemporary art: landscapes and interiors: oil paintings, drawings, lithographs, mezzotints, and drypoints
Spouse(s)	Laurie Lisle (1994–present) Jean Prutton (1954–1982)
Website	www.robertkipniss.net

Reception

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, and CK Contemporary.[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]

Influences

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]

Biography

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]

Style

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]

Paintings

Kipniss began painting in the early 1950s as a student, with many gallery and museum exhibitions of his work in the following decades, most recently a major retrospective at the Fort Wayne Museum of Art.[25] 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."[26] 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.[27] 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.[28] 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.[29] 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."[30] 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.

Drawings

Drawing has always been fundamental to Kipniss's practice. In addition to frequent sketching, he has created a number of highly finished drawings that are intended as final compositions in their own right.

Original prints

Printmaking is an important, if not primary, medium for Kipniss. A majority of his original oeuvre is in lithography and mezzotint, with occasional forays into etching and drypoint. In a 1996 essay about his printmaking practice in Printmaking Today, the journal of the Royal Society of Painter-Printmakers, Kipniss positioned printmaking as central to his thinking: “To printmaking I bring the best of what I learn drawing and painting: the most satisfying compositions, the better insights, the caught moments of my most intense emotions. These I use as starting points for prints, as if in printmaking a higher, more complicated resolution can be attained, and especially in black and white, a sense of irrefutability...I am most comfortable working with tone to discover form, and with light to find atmosphere. It is this experience of quiet intensity that I explore, sometimes with an edginess that borders on the surreal. Work is, after all, an odyssey, and I have no concern about where it will lead, being content to discover my path as I pursue it.”[31]

Etchings and Drypoints

Kipniss's first prints were etchings and drypoints, made in the late 1960s at Pratt Graphics Center in New York City. That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other techniques.[32] "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."[33] 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.[34] The work is in three institutional collections, including the British Museum, London.[35]

Lithographs

Kipniss began working in lithography in 1968 and it dominated his printmaking practice for over two decades.[36] From 1968 into 1994, Kipniss created hundreds of lithographs in dialogue with his painting practice.[37] Kipniss's first lithographs were black-and-white, but by 1970 he began to add color in some instances.[38] 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.[39]

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."[40] For instance, in the lithograph Through bedroom curtains (1983), a scene also depicted in a 1981 painting,[41] 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.[42] 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.[43]

Mezzotints

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.[44][45] 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.[45] 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.[46] 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.[47]

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.[48] A painting of the same subject predates this print, and in both Kipniss extemporized the pale, delicate scrim of trees.[49] 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.[50]

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.[51] 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.[52]

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.[53]

Writings and illustrated books

Author

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.[54]

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.[55]

Illustrator

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.[56] 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.[57] 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."[58]

Kipniss also illustrated Poems of Emily Dickinson, selected by Helen Plotz (New York: Thomas Y. Crowell Co, 1964, reprinted 1988) with twenty-six drawings.[59] A New York Times book review called them "superb."[60]

Honors and awards

Honors[61]

• Illinois College, Jacksonville, IL, Honorary Doctorate, 1989
• Wittenberg University, Springfield, OH, 1979, Honorary Doctorate[62]
• Royal Society of Painter-Printmakers, London, England, 1998 (retired member)
• National Academy of Design, New York, NY, ANA 1980, NA 1994[63]

Lifetime achievement awards

• The Benjamin West Clinedinst Memorial Medal for lifetime achievement in art, given by The Artists’ Fellowship, Inc., New York, NY, 2010[64]
• Society of American Graphic Artists, New York, NY, 2007

Selected museum and other institutional collections holding paintings and/or prints

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 (*).

Exhibitions

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

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

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

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	1999
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

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

Footnotes

External links

• Robert Kipniss Website
• Robert Kipniss papers, Archives of American Art, Washington, D.C.
• Robert Kipniss Special Collections & Archive at The Fort Wayne Museum of Art
• Robert Kipniss Collection at the Syracuse University Art Museum

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