Robert Kipniss
"Back Porch"
aka "Chair by the Window"
 
This Artwork is:
Hand Signed in Pencil on lower margins 
Limited edition Artist Proof (#VII/XV)
Vintage Lithograph on Arches paper
Due to the age of the item please expect that there could be minor inconsistencies in the paper (see images)- in excellent condition!
Custom framed in a dark gray frame
Double matted in beige and gray
Framed Size : 28" x 31"
Image Size: 18" x 15"
Framed in the USA
Hanging hardware included on back of frame
Interested in different framing?  Contact us!!
 

ABOUT THE ARTIST
Robert Kipniss' paintings and prints all deal with three subjects: spare still lifes, interiors filled with humble objects found in any middle-class American household, and evocative landscapes. His paintings and prints are meticulously produced with great technical mastery. His images are always devoid of the human figure and explore notions of contemplation, loneliness and reverie.
 
Born in Brooklyn, New York, in 1931, Kipniss studied at the Wittenberg College, Springfield, Ohio; The Arts Students League of New York, and the University of Iowa. He had his first New York one-man painting exhibition in 1951, but he would not produce his first print until years later. In 1967, the artist reluctantly enrolled in a six-week printmaking class at Pratt Graphics Center but soon warmed to the task, producing handsome etchings and drypoints. By the following year Kipniss had ventured into lithography, and quickly gained recognition for his accomplishments as a printmaker. For more than two decades Kipniss drew his images upon heavy lime stone matrices at the renowned George C. Miller and Son atelier in New York City, and printed them in collaboration with the gifted master printer, Burr Miller. Through this fruitful partnership, the artist realized more than 450 lithographs. By the early 1990s the artist had embraced the mezzotint, and since then has pulled editions for more than 140 prints.
Patience is truly a virtue with Kipniss' canvases and prints, in that the longer the onlooker lingers before one of his works the more it reveals -- just as its creator intended. By slowing one's ability to perceive the interactions of the various pictorial elements, the artist effectively controls one's sense of time. Thus, the observer "wanders" through a Kipniss landscape or interior, paced by the signposts of color, light, shape, and space. He experiences the painting or print vicariously, with a powerful sense of aloneness, through the artist's vantage point. The artist has eloquently stated that the "central impetus of my work is the endless range of feelings and thoughts evoked by the basic act of seeing, usually in isolation, and with a haunting intensity.