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Photo-Realism_ Richard Estes

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					Photo-Realism, Richard Estes

  A compilation of pieces from the
  book entitled : Urban Landscape
Helenes’s Florist, 1971
                          Nice Use Of Shadow
Zoom of : Helenes Florists
 It is possible to see here the immense detail and scale Estes
                    must have been working at.
Photos taken by Estes for the creation of Downtown
Images of Estes’ painting process noticing how he
builds up from the basic shape of the structures in
                      layers
More Developmental stages of
 Estes’ work note his primary
 inaccuracy with the building,
 however it comes out correct
Estes’s Photographs of which
  Downtown is based upon
 Estes Photos are simply aimed to get as
much of the scenes life into as possible, he
   also concentrates on getting a good
               perspective
Downtown, 1978
Close up of Downtown the accuracy of Estes lines is astounding, the reflections on the car do seem
                       odd but work when the picture is looked at overall
        Grand Luncheonette, 1969
Following are a range of shop fronts Estes’ Painted
                                Horn & Hardhat Automat, 1967
This is more of a realist painting on first glance, though the reflection of the opposing buildings is amazing
       The Candy Store, 1968-1969
Bright colours give of a sense of oddity in this piece.
Estes At work on Ansonia
Telephone Booths.1967
    Bus Window 1968-1973


   Either Estes took a very long
  time on this piece or he came
back to it I do not know but there
is amazing layered detail on the
            entire piece.
                                 Escalator, 1970
This piece has an almost daunting feel to it, due to its first person perspective.
                                                        Richard Estes

Is an american painter born in 1936 in Illinois. who is best known for his hyper-realistic art and Photorealism. The paintings
                       consist of reflective, clean, illustrative, inanimate city and geometric landscapes.
  Richard Estes is regarded as one of the founders of the international Photo-Realist movement of the late 1960s and 70s,
 together with painters like Malcolm Morley, Chuck Close, and Duane Hanson. Their work exhibits a high finish, fine details
    and an almost photographic fidelity to reality. This type of painting stands in the traditional of: trompe l'oeil (a style of
   painting dating from the Renaissance, which developed in response to the discovery of perspective in 15th century Italy
   and advances in optics in 17th century Holland) and 17th century Dutch painting (Vermeer, Van Dyke, Franz Hals, Jan
                          Steen, Rembrandt) with its exacting technique and highly finished surfaces.

   Estes was born in 1932 in Kewanee, Illinois. He moved to Chicago at an early age and studied fine arts from 1952 to
    1956, with a concentration on figure drawing and traditional academic painting, at the School of the Art Institute of
Chicago. He frequently studied the works of realist painters such as Degas, Edward Hopper, and Eakins, who are strongly
 represented in the Art Institute's collection. Estes moved to New York City in 1956, after he had completed his course of
studies, and worked for the next ten years as a graphic artist for various magazine publishers and advertising agencies in
New York and Spain. During this period he painted in his spare time, and by 1966 he had saved enough money so that he
                                            could devote himself full-time to painting.

 Most of Estes' paintings from the early 60's are of New Yorkers engaged in everyday activities. It was around 1967 that a
shift occurred in his city scenes: he began to paint storefronts and buildings with glass windows partially reflecting images
of the street scene in front of the building. These paintings were based on color photographs he would make of his object,
 which trapped the evanescent nature of the reflections, which would change in part with the lighting and the time of day.
While some amount of alteration was done for the sake of aesthetic composition, it was important to Estes that the central
 and the main reflected objects be recognizable, but also that the evanescent quality of the reflections be retained. Estes
                    had his first of many one-man shows in 1968, at the Allan Stone Gallery in New York.
Estes has exhibited at the Metropolitan Museum of Art, the Whitney Museum, and the Solomon R. Guggenheim Museum.
                              In 1971, he was granted a National Council for the Arts Fellowship.

				
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