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Robert Kipniss Intaglios 1982–2004
By Thomas Piché Jr. and Trudie A. Grace
To begin to see like Kipniss, one must be prepared to elide congested tangles of branches, renounce decorative architechtural details, and simplify overly fussy groupings of objects.
Robert Kipniss has been widely known for several decades as a painter and printmaker, producing works evocative of intense contemplation and rendered with extraordinary technical facility. Part of Kipniss’s reputation lies in his frequent use of the mezzotint technique in a highly personal manner that involves showing the action of the hand in the intimate act of drawing. While his choices of subject matter—landscapes, views of houses, and still lifes—link him to representational art, Kipniss’s distillation of forms produces formal interactions that often verge on the abstract. Robert Kipniss: Intaglios 1982–2004 reproduces 139 intaglio prints including mezzotints, drypoints, roulette prints, and etchings. Hand-colored mezzotints, drawings, and paintings are also illustrated. Kipniss’s intaglios are found in many of the foremost public and private collections in the United States and Europe. Thomas Piché, Jr. is former senior curator at Everson Museum of Art, Syracuse, New York. Trudie A. Grace, former associate curator of the National Academy of Design, New York City, is curator of the Putnam County Historical Society & Foundry School Museum, Cold Spring, New York, and lectures on art history at Fashion Institute of Technology, New York.
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