Morton Künstler 1927 - 2025
Our 97-year-old artist, father, friend, and colleague passed away on February 2, 2025. He had a prolific life and career, yet happily said many times “I never worked a day in my life!” He is missed by all who were lucky to have known him and his paintings.
We greatly appreciate the outpouring of condolence messages and notes. Thank you.
Our store is OPEN
Our inventory is full of prints and books
that were previously signed by Mort.
Signed giclées are more limited; please contact us at info@mortkunstler.com if you are
looking for a specific giclée title and do not see it available on our website.
2025 Civil War Calendar Available Now!
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Licensing Mort’s Images
Join us as a licensing partner. Mort Künstler’s works of art have proven to be a successful component of advertising campaigns, museum installations, television and film productions, books and magazines, products and other commercial and educational ventures.
We would be happy to work with you to make your venture a success.
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History in Photos
1980
Robert Anderson, CEO of Rockwell International, prime contractor for the Space Shuttle visited Mort Künstler in his studio in Oyster Bay, New York in 1980. Rockwell had commissioned Künstler to document the building, testing, first launch and touchdown of the first space shuttle. Künstler did more than forty paintings, drawings and sketches that are now in the collection of the Museum of Science and Technology in Los Angeles. Mr. Anderson visited the artist's studio when he wished to see the progress of the first painting in the series, appropriately titled “First Rollout,” showing the Enterprise being pushed out of the hangar for the first time.
The firelight illuminates the faces of the men as they discuss a high-risk strategy. Other campfires in the background reveal the subtext, the story of the ordinary soldier. …The owner of the painting, [The Last Council], …who is lending it for the exhibition, called Mr. Künstler’s treatment of light uncanny. ‘If the light dims in the room,’ he said, ‘the fire glows brighter. It’s as if the painting is alive,’ he said.
Rahel Musleah
The New York Times