Kipniss's early work consisted of abstractions, biomorphic forms, landscapes, cityscapes, still lifes, and figures.
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Large Trees at Dusk was one of several paintings and drawings in and 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 , hundreds show the interplay of tree trunks, focusing on close or more distance views.
Splash III  is an example of Kipniss's paintings of trees extending into grassy landscapes. Many paintings of this type, which occasionally have one or more generic houses, display his use of closely related tones, a strong accent on the purity of form, refined silhouetting, and pronounced luminosity.
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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. From into , Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. Kipniss's first lithographs were done in black and white, but by he was also working in color.
He worked from with master printer Burr Miller and then with Steve and Terry, his sons. In Kipniss began to draw on aluminum to make all of his lithographs, and by he was achieving an increased subtlety in the use of color with a light palette including "greens, blues, pinks, browns, and grays," as a critic noted that year. He added: "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.
Kipniss used six plates, with black, red, yellow, blue, green, or orange, for successive applications of color in the lithograph Through Bedroom Curtains ,  a scene also depicted in a painting. As in Through Bedroom Curtains , he usually included a window with a view of one or more trees and one or more generalized houses and frequently also depicted one or two house plants in the interior.
Kipniss stopped making lithographs in and began to create mezzotints. He had his first solo mezzotint show in New York in He also showed mezzotints in at his first solo print show in England, and that year they comprised his first show of prints in Germany. 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.
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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. 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. 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. Kipniss's first print and only etching was made in That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other mediums.
The book compares the mood and content of his poetry with his transitional and early mature paintings and prints. Kipniss's memoir, Robert Kipniss: A Working Artist's Life University Press of New England, , pages , describes his artistic techniques and aspects of his career and personal life.
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Kipniss has illustrated two volumes of poetry. For Poems of Rainer Marie Rilke , he created ten black and white lithographs which were reproduced in an edition of two thousand books. Ten originals in color editions of that were placed in portfolio boxes as individual sheets opposite each of ten poems were published separately.
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. Kipniss also illustrated Poems by Emily Dickinson with twenty-six drawings. 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 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 From Wikipedia, the free encyclopedia.
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Lawrence University, Richard F. Lunde, in Graphic Work , on "individual in isolation," Bullard, Foreword, in Paintings , on "meditative silence" in Kipniss's paintings and prints, x. Bullard, Foreword, in Paintings , ix—x. See also the lists of exhibitions. Durand, 10, and on a kinship with George Inness and Mark Tobey, 12— For works depicting Springfield, Ohio, from other views and in other mediums, see Paintings , passim; Piersol, passim; Intaglios , passim; Kipniss, Artist's Life , pl.
Paintings and Poetry , images 56—58 and Price, "Ut Pictura Poesis," "Kipniss made a breakthrough with a series of large drawings that were less restrained and more aggressively rendered than any of his previous work. Kipniss, Artist's Life , Piersol, 6. Kipniss, Artist's Life , on technique when doing lithographs, For a detailed discussion of the making of his lithographs, see Robert Kipniss, "Recollections: Printmaking Experiences," Printmaking Today , 5, no.
Piersol, 5—6, and Kipniss, "Soliloquy," 22— Kipniss' first recognition from the art community came before he finished his studies; in he won an art competition in New York City that earned him his first one-person exhibition in the same city.
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Numerous solo shows followed throughout the United States and beyond. It was in the s that Kipniss began creating graphic works, producing numerous drypoints, lithographs and intaglio works, mezzotints in particular. The subjects of Kipniss' works include austere limbs of trees in autumn and winter; spare, modest houses with simple shapes; a rolling countryside dotted with the occasional home, tree or shrub; and shadowy interior scenes.
Though the homes, furniture, and various items that typically adorn a domicile hint at the presence of human life, Kipniss' works are devoid of people. They artfully explore the effects of light and shadow in muted tones, often in shades of white, gray, pale yellow and dusty green. Though at face value they may simply appear to explore the simple subjects they feature, Kipniss strives to capture something deeper.
thewani.com/whatsapp-track-cellphone-tool.php My art is of intensity, of delving, of exploring the soul. Numerous books have been published about the artist. Grace and Thomas Piche, Jr.
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