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.