Richard Estes 理查德·埃斯特斯 (1932) Photorealism American

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Richard Estes (born May 14, 1932 in Kewanee, Illinois) is an American artist, best known for his photorealist paintings. The paintings generally consist of reflective, clean, and inanimate city and geometric landscapes. He is regarded as one of the founders of the international photo-realist movement of the late 1960s, with such painters as John Baeder, Ralph Goings, Chuck Close, Audrey Flack, and Duane Hanson. 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 hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to
At an early age, Estes moved to Chicago with his family, where he studied fine arts at The School of the Art Institute of Chicago (1952–56). He frequently studied the works of realist painters such as Edgar Degas, Edward Hopper, and Thomas Eakins, who are strongly represented in the Art Institute's collection. After he completed his course of studies, Estes moved to New York City and, for the next ten years, worked 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. He had lived in Spain since 1962 and, by 1966, was financially able to paint full-time.
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 themselves. The paintings are always set during daylight hours, suggesting "vacant and quiet Sunday mornings." Estes's works strive to create convincing three-dimensionality on a two-dimensional canvas. His work has been described via a variety of terms, ranging from super-realism, sharp-focus realism, neo-realism, photo-realism, to radical realism. The most frequently used term is super-realism. Most of Estes's paintings from the early 1960s are of city dwellers engaged in everyday activities. Beginning around 1967, he began to paint storefronts and buildings with glass windows and, more importantly, the reflected images shown in these windows. The paintings were based on color photographs he took, which trapped the evanescent nature of the reflections, which would change with the lighting and the time of day.
Estes's paintings were based on several photographs of the subject. He avoided using famous New York landmarks. His paintings provided fine detail that were invisible to the naked eye, and gave "depth and intensity of vision that only artistic transformation can achieve." 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. He had a one-man show in 1968 at the Allan Stone Gallery. His works have also been exhibited at the Metropolitan Museum of Art, the Whitney Museum, the Thyssen-Bornemisza, and the Solomon R. Guggenheim Museum. In 1971, Estes was granted a National Council for the Arts fellowship. The same year, he was elected into the National Academy of Design as an Associate member, and he became a full Academician in 1984.
理查德·埃斯特斯（Richard Estes）（1932年5月14日出生於伊利諾伊州基瓦尼）是一位美國藝術家，以他的真實畫作而著稱。繪畫通常由反光，乾淨，無生命的城市和幾何風景組成。他被認為是20世紀60年代後期的國際攝影現實主義運動的創始人之一，其中包括John Baeder，Ralph Goings，Chuck Close，Audrey Flack和Duane Hanson等畫家。作者Graham Thompson寫道：“攝影被吸收到藝術世界中的一個示範是20世紀60年代末和70年代初的照片寫實繪畫的成功，也被稱為超現實主義或超現實主義和畫家，如Richard Estes，Denis Peterson ，Audrey Flack和Chuck Close經常從攝影劇照工作，以創作出現的繪畫
早年，埃斯特斯與家人搬到了芝加哥，在芝加哥藝術學院（1952-56）學習藝術。他經常研究現實主義畫家的作品，如Edgar Degas，Edward Hopper和Thomas Eakins，他們在藝術學院的收藏中有很強的代表性。完成課程後，埃斯特斯搬到了紐約市，接下來的十年，曾在紐約和西班牙的各種雜誌出版商和廣告公司擔任平面藝術家。在此期間，他在業餘時間畫畫。他自1962年以來一直住在西班牙，到1966年，在財務上能夠全職上映。
埃斯特斯對他使用的照片保持了真實：當他的作品包括貼紙，標牌和窗口顯示時，總是由於反射而被向後描繪。他的工作很少包括在建築物周圍的垃圾或雪，因為他認為這些細節減損建築物本身。這些繪畫總是在白天安排，暗示“週日上午空著靜寂”。 Estes的作品力求在二維畫布上創造令人信服的三維度。他的作品已經通過各種各樣的術語進行描述，從超現實主義，尖銳現實主義，新現實主義，照片現實主義到激進的現實主義。最常用的術語是超現實主義。 20世紀60年代初，Estes大部分畫作都是從事日常活動的城市居民。從1967年開始，他開始用玻璃窗來畫店面和建築，更重要的是在這些窗戶中顯示的反射圖像。這些繪畫是基於他所拍攝的彩色照片，它捕獲了反射的漸逝性質，這將隨著照明和時間的變化而改變。
埃斯特斯的繪畫是基於幾個主題的照片。他避免使用著名的紐約地標。他的畫作提供了肉眼看不見的精細細節，並賦予了“只有藝術轉型才能達到的深度和視野。雖然為了美學構成而進行了一些改變，但Estes認為中心和主要反射物體是可識別的，而且還要保留反射的消逝質量。他在1968年在艾倫石畫廊舉行了一個單人秀。他的作品也在大都會藝術博物館，惠特尼博物館，蒂森 - 博內米沙和所羅門·古根海姆博物館展出。 1971年，埃斯特斯被授予國家藝術委員會獎學金。同年，他當選為國家設計學院準會員，1984年成為全院院士。