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themselves. The paintings are always in daylight, suggesting "vacant and quiet Sunday mornings." Estes' works strive to create convincing three-dimensionality on a two-dimensional canvas. His work has been described in terms ranging from super-realism, sharp-focus realism, neo-realism, photo-realism, to radical realism. The most common one is super-realism. Estes' paintings from the early 1960s are typically of city dwellers engaged in everyday activities. Around 1967, he began to paint storefronts and
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Estes paintings were based on multiple photographs of the subject. He avoided famous New York landmarks. His paintings provided fine details that were invisible to the naked eye, and gave "depth and intensity of vision that only artistic transformation can achieve." While some alteration was done for
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Estes stayed true to the photographs he used: when his paintings include stickers, signs, and window displays, they are always depicted backwards because of the reflection. His work rarely included litter or snow around the buildings because he believed these details detract from the buildings
174:. Author Graham Thompson writes "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or
303:, it was important to Estes that the central and the main reflected objects be recognizable, and that the evanescent quality of the reflections be preserved. He had a one-man show in 1968 at the
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Thompson, Graham: American
Culture in the 1980s (Twentieth Century American Culture) Edinburgh University Press, 2007
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often worked from photographic stills to create paintings that appeared to be photographs."
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Richard Estes at the
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210:(1952–56). He frequently studied the works of
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827:Richard Estes Artwork Examples on AskART.
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103:Notable work
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301:composition
216:Edgar Degas
188:Chuck Close
156:Chuck Close
152:John Baeder
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