"Unfortunately it has been too easy for anybody to take a photograph, trace it, and make a lousy painting. Photorealism, in that sense, has been bastardized. I can sympathize with a lot of people who just reject it outright, because, like anything else, there is so much bad stuff around. I always thought of myself as a Realist painter." RICHARD ESTES
That may be the case, but it's what Estes does with reality that fascinates me, and puts me in mind of the famous Venician artist of the Eighteenth Century, Canaletto.
Estes, along with other photorealist artists, decided to turn their backs on the gestural style of the abstract expressionist movement which was so prominent in late 60's America, and aim for a kind of hyper realism which was more descriptive of a high tech post war age.
Early on in his career, Canaletto abandoned the dark and brooding tonality of his work and produced paintings of a much higher pitch, mainly because he found a new market for his work in Venice - the English tourist. Canaletto was famous for his use of the camera obscura which he used to produce multiple images of a scene from different vantage points. Then he jumbled them up to come up with a scene that, in reality, didn't exist. It was the eighteenth century's prelude to the photo montage and thus he created scenes that were far more idyllic than in reality.
When viewers have tried to match Estes' paintings with actual scenes around New York and elsewhere, they have found inconsistencies. He works from multiple photos of a scene, even bisecting them, shifting elements around, to come up with a composition that plays with perspective which can be a little disorienting. "By creating his photorealistic montages that seem convincingly whole, Estes produces works in which there are multiple focal points. He confounds the concept of the mathematical or one-point perspective, the Renaissance invention that provided drawn and painted images with the illusion of depth. Instead, viewing a typical Estes painting feels like one is constantly changing vantage points". THE ART STORY
When the English tourist market dried up, Canaletto decided to travel to England and produced some remarkable scenes such as the one above which was painted from Richmond House (no longer extant).
Estes paintings reinvigorated the importance of craft in painting and even though his work is hyper-realistic, they are still in some way "painterly". His work goes beyond photography.