Experience provides knowledge about many things and little about everything. What is known and not known requires examining to determine what is credible, reasonable or an illusion. If imagination is more important than knowledge, then the former will influence the kind of knowledge and art a culture creates.

By examining a variety of topics through the medium of art provides the opportunity for discovering and sharing with others what is learned. The study, conception and making of art by itself is a learning process. This activity never seems finished, physically or contextually by the artist or viewer of the art. The more art is experienced the less it needs the frame and the more the viewer becomes a participant in the learning process.

The viewer of my artworks will find they encompass life experiences, social, historical, philosophical and political points of view, advances in science and the whimsical nature of things. Other artworks examine existential matters concerned with extinction and the sustainability of our planet and inhabitants. These artworks provide a kind of visual literacy from which the viewer can form opinions and imagine new kinds of knowledge.

Robert Hauser





  • American Society of Appraisers
  • Boston Museum School
  • Fine Arts Work Center
  • Haystack School Crafts
  • Historic New England Studies
  • Iowa University Book Center
  • MIT, Technology & Conservation Symposium
  • Nantucket School of Art
  • Truro Art Center
  • Tufts University, MFA
  • Boston Museum School of Fine Arts
  • Boston Public Library
  • Concord Art Association
  • Dublin School Putnam Gallery
  • Grimshaw Gudewicz Gallery
  • New Hampshire Institute of Art
  • Off the Square Gallery
  • Powers Fine Art Gallery
  • RISD Museum of Art
  • Thorne Sagendorph Gallery
  • University Connecticut
  • American Institute of Conservation
  • Boston Society Printers
  • Getty Conservation Institute
  • Kress & Mellon Studies
  • Mead Paper Company, Design Internship
  • National Endowment of Arts
  • New England Conservation Association
  • SMFA Traveling Scholarship
  • University of London


“Life Imitates Art” – 1889, by Oscar Wilde, (1854-1900)

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Visual Text:
1950 Henry C. Hauser (1887-1956) Grandfather, Artist Studio, New York City. 2. 1961 Oceanographic Research Vessel “Chain,” Woods Hole, MA. Lab. Technician & Crew Member. 3. 1962-1964 Paier School of Art, Hamden, New Haven, CT. 4. 1963-1973 School of the Boston Museum of Fine Arts. 5. 1969 Mead Papers, Design Internship, Atlanta, GA. 6. 1971 Busyhaus Logo Papermaking Watermark. 7. 1971 New England Arts Festival, Cambridge, MA. 8. 1971 MFA Exhibit, Textile Museum, North Andover, MA. 9. 1973 Hand Papermaking, Twin Rocker Mill, Brookston, IN. 10. 1974 Papermaking & Preservation Workshop, (far left: S. Ellenport), Harcourt Bindery, Boston, MA. 11. 1978 B. Middleton (right) Bookbinding Workshop, Harcourt Bindery, Boston, MA. 12. 1979 Papermaking & Preservation Workshop, Caracas, Venezuela. 13. 1979 BusyHaus Wallpaper Binding Design (right: M. McCurdy), North Andover, MA 14. 1990-1992 Maritime Museum, Bremerhaven, Germany & Kress Figurehead Studies. 15. 1992 Gutenberg Printing Museum, Mainz, Germany 16. 1998 Aboard, Schooner Victory Chimes, Rockland, ME. 17. 2000 Curmudgeon Yacht Club, (right: A. Booth), Newport, RI. 18. 2008 Painting Examination, Conservation Laboratory, New Bedford Whaling Museum, New Bedford, MA. 19. 2010-2018 Conservation of James Audubon Prints, New Bedford Free Public Library. 20. 2013-2015 Conservation of 18th Century Atlantic Neptune Navigation Charts, John Carter Brown Library, RI. 21. 2016 Artist’s Library and Studio, NH. 22. 2016 Thomas Dodd Research Center, Busyhaus Paper on Paper Archive, University of Connecticut. 23. 2018 The exhibition “A Time & Place,” Powers Gallery, Acton, MA. 24. 2019 exhibition, “Outer Space,” Dublin School Putnam Gallery, Dublin, N.H.

Photo Credits:
4. Tufts University, Tisch Library, Medford, MA. 23. Art New England, “Art Seen,” May/June 2018.