The artwork of robert koepnick
While a beloved teacher, Koepnick also had a long, active career as an independent artist. He is perhaps best known for the ecclesiastical pieces he executed for churches or for architects designing churches. Koepnick also produced logos and commemorative plaques and busts for corporate clients. Further commissions included public art for schools, governments and other service agencies around the Dayton area. Koepnick also pursued his own artistic vision by creating personal works. These works were accepted for exhibition by major art institutions as early as 1940 and were still being exhibited as late as 1993.
Throughout his career, Koepnick completed many sculptures for churches and other religious organizations. He worked mainly with Catholic institutions, but he also did a considerable amount of work for Protestant organizations and almost signed a contract with a Jewish temple in Lima, Ohio. Koepnick’s iconic Christian figures often drew on liturgical art of the past. For example, the pleated robe of Koepnick’s Angel Gabriel recalls those worn by the early Gothic Christian figures in Chartres Cathedral. The vertical folds in those 12th century stone carvings echo the soaring lines and spaces of a cathedral designed to evoke the transcendent experience of leaving the terrestrial world for a heavenly realm. However, Koepnick’s angel has a decidedly 20th century look with its clean lines and more abstract features. For clients requesting more modern imagery, Koepnick found inspiration in the work of early 20th century European artists whose work he admired. For example, his gaunt, elongated figure of Christ on the cross echoes the pathos of the wooden crucifix carved by Croatian expressionist Ivan
Meštrović.
Koepnick created public art that adorns many schools, libraries and government buildings. He was called upon when those clients wanted to make a permanent statement about their place in history, their mission or their beliefs. Unfortunately, much of his work for local schools, including Roosevelt High School, Fairview High School, Belmont High School and Eastmont Park Elementary School, has been demolished in recent years. His creation of the knight for Archbishop Alter High School, in Kettering, still stands. Major public works include sculptures at the entrance gate of the Montgomery County Fairgrounds and on the main façade of the Dayton Metro Library’s downtown headquarters. Some believe that the latter two structures, and their artwork, are also in imminent danger of destruction due to upcoming relocation and renovation.
Many of these pieces were created during the 1950s and ‘60s, a prosperous era for Dayton. Industry was thriving and the population was growing. New residential construction added to the city’s footprint, and new suburbs still focused on a vibrant center city. Baby boomers crammed into old school buildings and made new ones necessary. Prosperity brought enthusiasm and optimism for a bright future, and inspired local leaders to build boldly.
A portion of Koepnick’s work was for corporate clients who wanted to commemorate an honored leader, as well as for corporate clients who desired a distinctive logo or striking image to define their identity or mission. As with many artists who strive to make a living, Koepnick felt that this bread and butter work, though less inspiring and challenging than other projects, was useful and practical, and could perhaps lead to additional commissions for public art. More than his executive portraits, Koepnick’s logo and collage work allowed for interpretive freedom and distinctive creations.
As a teacher and artist, Koepnick admired and referred to work by many early modern figurative European sculptors prominent in the years between the two world wars (1918-1939). These influences were particularly evident in his secular work. Although early 20th century modernists broke the rigid rules of proportion and literal interpretation prevalent in 19th century academic training, many continued to work in traditional materials: carved wood and stone, clay and cast bronze. Eventually, these groundbreaking artists were overshadowed by
the more radical movements of the period such as surrealism, dadaism and constructivism. While his portrait heads are Koepnick’s most literal representations of the figure, he selected from a range of stylistic approaches to express the unique character of each subject. The artist reserved his most adventurous experiments for his own personal work, usually in the form of a figure.
View a selection of Koepnick's pieces on a timeline or map.
Throughout his career, Koepnick completed many sculptures for churches and other religious organizations. He worked mainly with Catholic institutions, but he also did a considerable amount of work for Protestant organizations and almost signed a contract with a Jewish temple in Lima, Ohio. Koepnick’s iconic Christian figures often drew on liturgical art of the past. For example, the pleated robe of Koepnick’s Angel Gabriel recalls those worn by the early Gothic Christian figures in Chartres Cathedral. The vertical folds in those 12th century stone carvings echo the soaring lines and spaces of a cathedral designed to evoke the transcendent experience of leaving the terrestrial world for a heavenly realm. However, Koepnick’s angel has a decidedly 20th century look with its clean lines and more abstract features. For clients requesting more modern imagery, Koepnick found inspiration in the work of early 20th century European artists whose work he admired. For example, his gaunt, elongated figure of Christ on the cross echoes the pathos of the wooden crucifix carved by Croatian expressionist Ivan
Meštrović.
Koepnick created public art that adorns many schools, libraries and government buildings. He was called upon when those clients wanted to make a permanent statement about their place in history, their mission or their beliefs. Unfortunately, much of his work for local schools, including Roosevelt High School, Fairview High School, Belmont High School and Eastmont Park Elementary School, has been demolished in recent years. His creation of the knight for Archbishop Alter High School, in Kettering, still stands. Major public works include sculptures at the entrance gate of the Montgomery County Fairgrounds and on the main façade of the Dayton Metro Library’s downtown headquarters. Some believe that the latter two structures, and their artwork, are also in imminent danger of destruction due to upcoming relocation and renovation.
Many of these pieces were created during the 1950s and ‘60s, a prosperous era for Dayton. Industry was thriving and the population was growing. New residential construction added to the city’s footprint, and new suburbs still focused on a vibrant center city. Baby boomers crammed into old school buildings and made new ones necessary. Prosperity brought enthusiasm and optimism for a bright future, and inspired local leaders to build boldly.
A portion of Koepnick’s work was for corporate clients who wanted to commemorate an honored leader, as well as for corporate clients who desired a distinctive logo or striking image to define their identity or mission. As with many artists who strive to make a living, Koepnick felt that this bread and butter work, though less inspiring and challenging than other projects, was useful and practical, and could perhaps lead to additional commissions for public art. More than his executive portraits, Koepnick’s logo and collage work allowed for interpretive freedom and distinctive creations.
As a teacher and artist, Koepnick admired and referred to work by many early modern figurative European sculptors prominent in the years between the two world wars (1918-1939). These influences were particularly evident in his secular work. Although early 20th century modernists broke the rigid rules of proportion and literal interpretation prevalent in 19th century academic training, many continued to work in traditional materials: carved wood and stone, clay and cast bronze. Eventually, these groundbreaking artists were overshadowed by
the more radical movements of the period such as surrealism, dadaism and constructivism. While his portrait heads are Koepnick’s most literal representations of the figure, he selected from a range of stylistic approaches to express the unique character of each subject. The artist reserved his most adventurous experiments for his own personal work, usually in the form of a figure.
View a selection of Koepnick's pieces on a timeline or map.