Jeremy Lipking
Jeremy Lipking is an acclaimed American realist painter known for his masterful oil paintings, atmospheric landscapes, and expressive portraits. Born in 1975 in California, he grew up surrounded by art, heavily influenced by his father, renowned illustrator David Lipking. Jeremy developed a distinctive style that blends classical realism with impressionistic brushwork, creating paintings that feel both technically refined and emotionally alive.
Lipking is especially celebrated for his ability to capture light, mood, and texture. His portraits often convey quiet introspection and natural beauty, while his landscapes evoke a sense of atmosphere and serenity inspired by the American wilderness. Drawing influence from 19th-century masters such as John Singer Sargent and Anders Zorn, he combines traditional painting techniques with a modern sensitivity.
Throughout his career, Lipking has received widespread recognition in the contemporary art world, exhibiting internationally and earning numerous awards for his work. Beyond painting, he is also respected as an educator, sharing his techniques and artistic philosophy through workshops, instructional videos, and online courses.
His work continues to inspire artists and collectors worldwide for its balance of realism, emotion, and painterly elegance.
We are pleased to announce the official catalog for the upcoming retrospective of Jeremy Lipking.
This beautifully produced volume spans over 50 pages and showcases every painting included in the exhibition. Thoughtfully designed and printed to the highest standard, the catalogue serves as both a complete visual record of the show and a lasting collector’s piece.
Each work is accompanied by personal reflections from Jeremy — offering insight into his process, intentions, and the quiet decisions behind the paintings. These written notes make the catalog more than documentation; they invite readers into the deeper story of the work.
Details:
• Over 50 full-color pages
• A4 format
• Premium paper stock
• High-quality reproduction printing
• Personal commentary by the artist on each painting
• Complete record of the retrospective exhibition
• With forwards by Cathy Lipking and Daniel Maidman
• Catalog designed by Symi Jackson
Whether you are attending the exhibition or collecting from afar, this catalog preserves the breadth and atmosphere of the show in a format designed to be returned to for years to come.
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Michael Harding’s Warm White is my solution for the UK and EU artists who want a lead-like paint without the lead content, which is banned unless you are a certified restorer in the UK and EU. This warm white is opaque, has outstanding brushing qualities, and mixes well with every colour on the artist’s palette. Warm White is available worldwide.
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Inorganic – This is a strong, deep orange with high tint power and opacity, yielding surprisingly pinky hues in mixes with Titanium Whites.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
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Inorganic – This Iron Oxide has been used as a wood dye, and I realised that its capacity to enrich the grain of hardwood made it a wonderful candidate for paint making. Michael’s Transparent Red Oxide is an Iron Oxide manufactured to such a small pigment particle size that like its yellow counterpart, it possesses Lake-like characteristics. No. 220 has terrific tint power that produces wonderful results in mixes with yellows and brings gravity to mid-red tones. Mix it with phthalocyanine blue for an interesting surprise!
Officially Signed by Jeremy Lipking
Twilight Trail is a contemporary western painting by Jeremy Lipking. We're excited to offer a limited edition archival print on heavy 290gsm Cotton Rag fine art paper with a smooth matte finish. We worked with the artist and one of the best fine art printers in California to accurately reproduce the color, value, and detail of the original brushwork in this edition. This print is sold unframed.
Sheet Size: 32x20 inches with a 1-inch border.
Edition size: 300
Each print is signed & numbered in pencil by the artist.
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Inorganic – This name was given by English manufacturers to smalt, a cobalt-based pigment that was used in the sixteenth and seventeenth centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, smalt tends to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original smalt formula obsolete, and so I offer a completely reliable substitute blend that evokes the aerial effects of the great Venetian decorators.
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Organic – Alizarin Crimson is the oldest synthetic, organic lake introduced in 1868, and the only lake of the coal-tar lake range to have survived in use until the present. Before the end of the 19th-century, other Lakes were found too impermanent, and some Amerian authorities frown on Alizarin because its lightfastness (II-III on the ASTM scale) doesn’t match that of more recent organic red pigments. But its clarity and subtly beautiful bluish undertones are unique; since its introduction, portraitists have prized its range of cool, rather smoky hues, which are well suited for Caucasian tones. If you have concerns about using Alizarin Crimson, try mixing transparent oxide red with magenta for “look-alike” oil paint, or use Alizarin Claret.
Organic, Natural Earth – An impure, amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burnt ivory scraps but from charred animal bones. It is denser in shade and cooler than Lamp Black, with stronger tint power. Ivory Black, the blackest of the blacks, is the most frequently used black in the range.
A portfolio of twelve quality postcard size reproductions of outdoor figurative paintings by artist Jeremy Lipking. The set comes in a beautiful custom handcrafted letterpress printed envelope made with fine art paper. Each reproduction is printed on 4"x6" heavyweight coated matte paper.
The Outdoor Figure portfolio includes:
Tules
Katie Painting
Sundown Silhouette
Winter Contemplation
Chelsey
Skylar in Black
November
Silence and Sagebrush
Plein Air
The Sled
Whispering Pines
Jeune femme a la neige
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Inorganic – Cadmium Sulphide is a dense, lean, mid-shade warm yellow, indispensable as a foundation colour for warm mixes of all kinds.
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Inorganic – Viridian is about the fastest curing colour in my entire range, along with Stack Lead White. This hydrated variant of Chromium Hydroxide, introduced in the mid-19th century, is a valued support colour used for influencing greys in underpainting. The vivid blue undertones apparent in thin layers are soon eclipsed in thicker applications. Landscapists and some portraitists still prefer it to the more brutal power of the Phthalo Greens. When combined with reds, an interesting range of blue-greys results. Placing it as local colour in the proximity of vermilion can also produce some interesting complementary effects.
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Inorganic – First made from the rare ore of Cobalt Phosphate in the mid-19th century, it’s now a synthetic, inorganic pigment. This lighter shade is closest to the original, natural version. Cobalt Violet Light has a delicate shade of violet that appears opaque in mass-tone but that quickly becomes transparent when applied thinly and glazed over a white ground, creating an intriguing range of bluish pinks. The hues are equally restrained. Always allow Cobalt Violet Light to cure in a good light for the cleanest results.
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Inorganic – Introduced at about the same time as Ultramarine, Cobalt Aluminate is a synthetic, inorganic pigment. It is more greenish-blue, with a heavier, more mineral appearance when seen as a dry pigment. The hues formed from it are correspondingly heavier and greyer. But it has a certain shade that the less expensive ultramarine cannot quite match. The paint film, when cured, is quite soft.
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Organic Pigment – Green Gold is a pigment Michael has admired for many years, although it’s essentially a modern colour. As a standalone pigment it brings your painting a unique green that has its own elegance. However, when mixed, it’s ‘weird’! When you first look at it as a single colour, it’s interesting. But when Green Gold is mixed with other transparent colours, such as Alizarin Claret or Magenta, it does extraordinary things. You’ll wonder where the ‘third’ colour came from because it will seem so magical. Green Gold’s bewitching qualities give it a high tint power, and because it has only a single organic pigment, it’s both lightfast and transparent. And because it’s transparent, it possesses wonderful glazing properties and power.
Officially Signed by Jeremy Lipking
Silence & Sagebrush by Jeremy Lipking is a contemporary western painting in the permanent collection of the National Cowboy and Western Heritage Museum in Oklahoma City. The museum's visitors chose this piece as one of the top 10 favorite pieces in the museum. The painting was the winner of the prestigious Prix de West Award. We're excited to offer a limited edition archival print on heavy 290gsm Cotton Rag fine art paper with a smooth matte finish. We worked with the artist and one of the best fine art printers in California to accurately reproduce the color, value, and detail of the original brushwork in this edition. This print is sold unframed.
Sheet Size: 32x20 inches with a 1-inch border.
Edition size: 300
Each print is signed & numbered in pencil by the artist.