Richard Estes' Realism

Jone’s Diner, 1979, oil on canvas, 36 1/2 x 48 inches (Private collection, copyr
Jone’s Diner, 1979, oil on canvas, 36 1/2 x 48 inches (Private collection, copyright Richard Estes, courtesy Marlborough Gallery, New York)

August Kleinzahler reviews Richard Estes’ Realism at the Smithsonian American Art Museum, on view through February 8, 2015.

Kleinzahler writes: "Estes is identified with the photorealist school of painting. With their glossy, often hard finish, an almost enamelled quality, and photographic degree of verisimilitude, his work looks at home in that context. But it might be more useful to compare his pictures with those of the veduta painters of the 17th and 18th centuries, with Vermeer’s View of Delft and The Little Street, or the views of Venice by Canaletto and the Guardis. ... his interest in reflection ... seems to have been ignited by the pictures he saw at the National Gallery during his travels as a young artist: small Turner watercolours ‘with distorted reflections in windows – or mirrors perhaps’, Van Eyck’s The Arnolfini Portrait, in which the mirror behind the couple reflects two figures at the door and The Rokeby Venus by Velásquez, in which she admires her own reflection in a mirror – all these pictures, Estes says, ‘seemed to open up a lot of possibilities for painting’."