Richard Estes
http://www.artcyclopedia.com/artists/estes_richard.html
Richard Estes
[American Photorealist Painter, born in 1936]
• Browse all: American artists
I don't enjoy looking at the things I paint, so why should you enjoy it?
- Richard Estes, quoted by Anthony Haden-Guest in True Colors
Richard Estes in Commercial Galleries and Auction Houses NEW!
Paintings in Museums and Public Art Galleries:
Fine Arts Museums of San Francisco
http://search.famsf.org:8080/search.shtml?keywords=richard+estes
01
Richard Estes, artist
American, 1932 560, from the series Urban Landscapes 1, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.112
02
Richard Estes, artist
American, 1932 Seagram Building, from the series Urban Lanscapes 1, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.111
03
Richard Estes, artist
American, 1932 Urban Landscape: No. 6, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.110
04
Richard Estes, artist
American, 1932 Urban Landscape: No. 5, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.109
05
Richard Estes, artist
American, 1932 Danbury Tile, from the series Urban Landscapes 1, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.108
06
Richard Estes, artist
American, 1932 Grant's, from the series Urban Landscapes 1, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.107
07
Richard Estes, artist
American, 1932 Urban Landscape: No. 2, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.106
08
Richard Estes, artist
American, 1932 Urban Landscape: No. 1, 1972
Color screenprint
50.8 x 71.1 cm
Anderson Graphic Arts Collection, gift of the Harry W. and Mary Margaret
Anderson Charitable Foundation 1996.74.105
Hirshhorn Museum and Sculpture Garden, Washington D.C.
http://hirshhorn.si.edu/collection/search.asp?Artist=Estes+Richard&hasImage
=1
09
Richard Estes
American, born Kewanee, Illinois,1932
Diner
1971
Oil on canvas
40 1/8 x 50 in. (101.7 x 126.8 cm.)
Museum Purchase, 1977 (77.75 )
Exhibitions History
NASSAU COUNTY MUSEUM OF ART, Roslyn Harbor, New York.
"Photorealism: Painting and Sculpture," 25 January-25 April 2004, ill. p. 20,
p.36.
10
Richard Estes
American, born Kewanee, Illinois,1932
Qualicraft Shoes/Chinese Lady
1974
Color silkscreen on paper mounted on paper-clad aluminum
33 3/8 x 46 15/16 in. (84.8 x 119.1 cm.)
(77.250 )
11
Richard Estes
American, born Kewanee, Illinois,1932
Waverly Place
1980
Oil on canvas
36 1/4 x 80 3/8 in. (91.9 x 204.1 cm.)
Museum Purchase, 1980 (80.154 )
Exhibitions History
JANE VOORHEES ZIMMERLI ART MUSEUM, Rutgers, The State University
of New Jersey, New Brunswick, NJ. "American Photorealism," 12 December
2004 - 27 March 2005, no. 32, ill. p. 61. TOUR: PREFECTURAL MUSEUM
OF IWATE, Japan, 4 April - 16 May 2004; CITY MUSEUM OF IWAKI, Japan,
22 May - 3 July 2004; KUMAMOTO PREFECTURAL MUSEUM OF ART,
Japan, 16 July - 5 September 2004; HOKODATE MUSEUM OF ART,
Hokkaido, Japan, 22 September - 7 November 2004.
Kemper Museum of Contemporary Art, Kansas City, Missouri
http://www.kemperart.org/permanent/works/Estes.asp
12
Richard Estes
Born 1932 in Kewanee, IL
Lives and works in New York, NY
Water Taxi, Mount Desert
1999
oil paint on canvas
35 x 66 1/4 inches
Bebe and Crosby Kemper Collection
Gift of the Enid and Crosby Kemper Foundation
2002.13
Nassau County Museum of Art, Roslyn Harbor, New York
http://www.nassaumuseum.com/pastexhibits/past_explosivephotos.htm
13
Richard Estes
Hotel Empire
1987
oil on canvas, 96" x 96"
Carefully look at this oil painting. Does it look like a painting or more like a
photograph? What does the artist do to make it look like a photograph? Look
at the sharp focus, the high finish and the details. Richard Estes bases his
compositions on his own color photographs, but he manipulates what appears
in the photograph. He alters details, although he keeps buildings and major
elements that appeared in the photograph that inspires a painting.
Many times he uses many photographs and he edits them into what he wants
the composition of his painting to be. That is why sometimes you can see
many points of view at the same time. Look at this painting, where is the artist
located? Would you say that there is a vanishing point in the way that
perspective is done? Do you see more than one vanishing point? How could
this be if the painter was standing in one place and painting from that spot?
What lines do your eyes follow? If you follow the line of the window on the left
and the white line of the street your eyes goes to the back of the painting, but
tries to see two spots at the same time.
Can you find any people in this painting? Where could they be? What time of
the day is it? Can you tell what season it is? Is this a city street? What feeling
do you get when you look at this painting? Did it remind you of any other work
of art that you just looked at? Curiously enough, both Estes and Crewdson
feel very inspired by Hopper's work. Have you seen any of Hopper's work? If
so, can you make any connections? Think about light, space, emptiness,
solitude. If you haven't seen any of Hopper's works do some research and try
to make comparisons, keeping in mind that Estes and Crewdson were
inspired by his work.
National Academy of Design, New York City
http://www.nationalacademy.org/perm/estes.html
14
Richard Estes
ANA 1971; NA 1984
Parking Lot, n.d.
Oil on composition panel, 23 3/4 x 36 in.
NA diploma presentation, January 7, 1987 (1987.5)
Seavest Collection of Contemporary American Realism
http://artregister.com/SeavestIntroductiontoCollection/Catalogue/EstesSpirit.ht
ml
15
Richard Estes
Spirit
1995-96
oil and acrylic on canvas, 38 x 65 1/2 in.
Richard Estes at the Smithsonian American Art Museum, Washington D.C.
http://americanart.si.edu/search/search_artworks1.cfm?StartRow=1&ConID=1
461&format=short&db=onlyart&LastName=&FirstName=&Title=&Accession=
&Keyword
16
Richard Estes
Ten Doors
1972
Smithsonian American Art Museum
1973.4
Thyssen-Bornemisza Museum, Madrid
http://coleccionctb.museothyssen.org/ColeccionCTB/eng_accesible/htm/obra3
42/ficha_accesible.htm
20TH CENTURY AMERICAN AND BRITISH PAINTING
17
ESTES, Richard (Kewanee, 1932)
Nedick’s
Oil sobre canvas, 121.9 x 167.6 cm
Estes belongs to a rich history of artists who have depicted New York City. He
is known for his street scenes of Downtown Manhattan and of Manhattan’s
Upper West Side and has revealed a detailed knowledge of the city’s diverse
architecture, infrastructure and habitants. Although not a native New Yorker,
New York has been his home for over thirty years, and he continues to
explore what have become familiar locations in his work. The Ansonia, an old
Beaux-Arts building, and its surrounding streets on the Upper West Side, for
example, became a favoured motif in the 1970s and recurs in paintings from
the 1980s and 1990s. These latter-day versions may well record the site’s
changes, but this is a by-product. More significantly they show Estes’
maturation and his ability to reinvent continually. Estes’ principal concern is
not with recording the city, but manipulating its various structures and
surfaces to explore specific pictorial changes. The composition of his earlier
street scenes is characterised by a slant reflection, in which the street on one
side of the painting is reflected in a window on the other. More recently he has
widened these street scenes to include several streets moving away at
different angles. In both cases he is inventing methods to organise space and
move the viewer into and across the painting’s complexity. Such works have
an organisational geometry which, although suggested by the site, is the
outcome of considerable spatial and compositional changes. For Estes does
not imitate reality but, through a painting process which is fluid and openended, he constructs a world of bracing clarity and exacting order.
Estes’ paintings often deal with the juxtaposition of interior and exterior
spaces, which is evident in Nedick’s, 1970, the first painting wherein the artist
began to expand his view and imagery to go beyond the close-up,
straightforward inspection of storefronts, windows and reflections. Estes
began moving toward his mature Photorealist works with his depictions of
reflections in automobile windows and shiny metal. He then raised his camera
and focused on close-up renditions of store front windows, with attention to
what was in the windows as well as what was reflected in the windows.
Nedick’s, 1970, for the first time shows a distant cityscape off to the left side
of the painting. This is a pivotal work in other ways as well. The artist chose a
subject which allowed him to find and paint reflections not only on the window
surface, but on the mirrors twenty feet back into the store. The painting also
includes areas where the viewer looks through windows and doors back to the
outside and off into the distance. This contributed to the complexity and
awakened the artist to the artistic challenges he could and would undertake in
the new decade. The short depth of the interior and the distant view of the city
street are also precursors and predictions of work Estes would do in the
1980s and 1990s as he split his images between short interiors of buses,
trains and boats and the long views of bridges, water and city landscapes. As
the 1970s progressed he became firmly accepted as the leading and most
important artist in the movement called Photorealism.
Louis K. Meisel
Thyssen-Bornemisza Museum, Madrid
People's Flowers
20TH CENTURY AMERICAN AND BRITISH PAINTING
18
ESTES, Richard (Kewanee, 1932)
People’s Flowers
Oil sobre canvas, 162,6 x 92,7 cm
Colección Carmen Thyssen-Bornemisza
Richard Estes describes himself as a realist painter although he is more often
described as a Photorealist. In fact, he is regarded as one of the founders of
the Photorealist movement which emerged in America in the late 1960s. His
paintings, in reproduction at least, may remind us of photography, and Estes
has always used the camera to collect and record information from which he
can paint, but he has never been concerned with copying the appearance of a
photograph. Unlike many Photorealists, Estes is not interested in making
paintings which show how the camera records information. He avoids painting
areas of photographic focus and blur. Photography enables him to capture a
moment in all its complexities and has resulted in a remarkably intricate
representation of refracted light. However, because a photograph is limited by
mechanics of exposure, focus and a single fixed lens, Estes compensates by
painting from an assemblage of many photographs. Taken by himself, on
location, what Estes’ paintings share with photography is an authenticity. As
with photography, we regard Estes’ paintings to be a truthful representation of
reality. But, on examination, it is clear that the means by which Estes
represents the world is very different from photography. Estes, for example,
introduces directional mark making to reveal form, in contrast to the
homogenous flatness of the photograph, and makes substantial alterations to
the construction of illusionistic space. The truth in an Estes painting is very
different from that of the truth of a photograph. Ultimately, it is authentic not to
the reality of our world, but the world created by the individual painter. As a
realist, Estes utilises the particularities of the world around him to extend and
develop his own artistic vision, and in so doing, orientates himself within a
long tradition of painters such as Vermeer, Bellotto, Eakins, Hopper and
Sheeler, all of whom he admires.
People’s Flowers is early, pivotal, well known and one of Richard Estes’ very
best and most important paintings. The clarity, colour, subject matter and
composition indicate a totally mature and fully developed Estes, leader of the
Photorealist Movement at a point in time when all but a few of the other artists
were still struggling to perfect their visions and styles.
First, it is interesting to note that there are only five major Estes paintings with
a vertical format (over four feet, or 125 cm, high). This was not a favoured
format for the artist. However, the composition is innovative and flawlessly
conceived. The concentric rectangles of the buildings and window frame bring
the eye to the central focus point, the neon sign People’ s Flowers. The line of
trucks and the outdoor plants point to the sign as well. The sky in the
reflection on the window also does the same thing. The descending width of
the mirrored sign and the awning sign also bring the eye to the centre of the
painting. The clarity of the reflection and the contrast of the primary-coloured
red brick above the secondary-coloured green below are striking visual
effects. Artists try forever to create this kind of eye-arresting imagery. It is the
domain of the Photorealist, however, to discover and recognise this vision in
the world around him, and then to capture it with the camera and recreate it
with brush and paint.
You who view this painting can and will begin to realise how to “look” and
“see” and will be aware of the world you exist in in a new way.
Louis K. Meisel.
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Check for "Richard Estes" in the Sotheby's Sold Lot Archive (opens in a new
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(Most lots from year 2000 onwards are illustrated.)
19_4G6S9_L05023-245
LOT 245
RICHARD ESTES
B. 1936
TICKET WINDOW
60,000—90,000 GBP
Lot Sold. Hammer Price with Buyer's Premium: 96,000 GBP
MEASUREMENTS
77.2 by 51.7cm.; 30 3/8 by 20 3/8 in.
DESCRIPTION
signed
oil on canvas
Executed in 1969.
20_4BBQ4_N08021-430
LOT 430
RICHARD ESTES
B. 1936
HOLLAND HOTEL
8,000—10,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 20,400 USD
MEASUREMENTS
sheet c. 1220 by 1830 mm 48 by 72 in
DESCRIPTION
Screenprint in colors, 1984, signed in gold ink and numbered 83/100 (total
edition includes 15 artist's proofs), published by Parasol Press, Ltd., New
York, with full margins, apparently in good condition, framed* (not examined
out of frame)
21_48P72_L04023-273
LOT 273
PROPERTY FROM THE ESTATE OF ALEXANDER WALKER
RICHARD ESTES
B. 1936
STATEN ISLAND FERRY WITH VIEW OF EAST RIVER
35,000—45,000 GBP
Lot Sold. Hammer Price with Buyer's Premium: 62,400 GBP
MEASUREMENTS
45.5 by 40.5cm.; 17 7/8 by 16in.
DESCRIPTION
signed and dated 93
oil on canvas
PROVENANCE
Marlborough Gallery, New York
22_487GX_PF4021-259
LOT 259
RICHARD ESTES NÉ EN 1936
AIRSTREAM
20,000—30,000 EUR
Lot Sold. Hammer Price with Buyer's Premium: 50,400 EUR
MEASUREMENTS
35 x 53 cm ; 14 x 21 in
DESCRIPTION
signé
gouache sur papier
Exécuté en 1974.
23_47PVK_N07993-45
LOT 45
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
RICHARD ESTES
B. 1936
34TH STREET, MANHATTAN, LOOKING EAST
400,000—600,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 568,000 USD
MEASUREMENTS
91 by 91 in. 231.1 by 231.1 cm.
DESCRIPTION
signed and dated NEH 82
oil on canvas
PROVENANCE
Allan Stone Gallery, New York
Marlborough Gallery, Inc., New York
Acquired by the present owner from the above in 1995
EXHIBITED
Tokyo, Isetan Museum of Art; Osaka, The Museum of Art, Kintetsu; Hiroshima
City Museum of Contemporary Art, Richard Estes, July – October 1990, cat.
no. 25, p. 43 and cover, illustrated in color
New York, Marlborough Gallery, Richard Estes, May - June 1995
LITERATURE AND REFERENCES
Louis Meisel, Richard Estes: The Complete Paintings, 1966 - 1985, New
York, 1986, pl. no. 1, illustrated
John Arthur, Richard Estes: Paintings and Prints, San Francisco, 1993, p. 40,
illustrated
CATALOGUE NOTE
34th Street, Manhattan, Looking East is a classic example of Richard Estes’s
New York city paintings for which he became so celebrated. Photo-realism,
super-realism, or hyper-realism – all of these terms have been used to
describe the picture perfect paintings of Richard Estes. But is there an
abstraction behind all of the precisely executed images so familiar to the
everyday bystander. Small sections of Estes’s paintings -intersections,
reflections, lines and shapes - taken out of the whole picture become
abstracted, like a cubist painting, or perhaps a Mondrian – the master of
geometric reduction. The staggering detail serves to give the painting both a
super-realistic feeling as well as a slightly abstracted one. John Canaday
notes, “Never before have there been cityscapes exactly like these, where the
haphazard conjunctions of commonplace details are transformed into a matrix
that would be violated if any of its multitudinous bits and pieces were excised
from the mass. If the function of art is to impose order on the chaotic material
of human experience...then Estes is a classicist in paintings.... (John Canaday
in Exh. Cat., Museum of Fine Arts, Richard Estes: The Urban Landscape,
Boston, 1978, p. 10)”. Estes masterfully executes three-dimensional volumes
in a space defined by perspective in a two-dimensional surface with the use of
light, shadow and a technical prowess which is seldom seen today.
24_42L88_N01730-177
LOT 177
Property of a Corporate Collection
RICHARD ESTES (B. 1932)
AIRPORT WINDOW; MOVIES; THROUGH OFFICE WINDOW (FROM
URBAN LANDSCAPES III)
3,000—5,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 3,300 USD
MEASUREMENTS
each 14 by 20in. 35.6 by 50.8cm
DESCRIPTION
each signed in pencil and numbered 101/250, screenprints in color on
Fabriano paper, from the suite of 8, Urban Landscapes III, published by
Parasol Press Ltd., New York, 1981, each framed (3 prints)
This lot is sold subject to Sotheby's Conditions of Sale. As stated in the
Conditions, all lots are sold on an "AS IS" basis. Prospective bidders should
review the Conditions, Glossary and Buying at Auction guide
25_3W8T6_N07843-259
LOT 259
Property from a Private Swiss Collection
RICHARD ESTES (B. 1936)
DECK OF STATEN ISLAND FERRY WITH VIEW OF MANHATTAN
60,000—80,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 59,750 USD
MEASUREMENTS
23 1/2 by 12 5/8in. 59.7 by 32.1cm
DESCRIPTION
signed and dated 95
oil on canvas
Provenance:
Marlborough Gallery, New York
Acquired by the present owner from the above
Exhibited:
New York, Marlborough Gallery, Richard Estes: New York Paintings, May June 1995, p. 14, illustrated
This lot is sold subject to Sotheby's Conditions of Sale. As stated in the
Conditions, all lots are sold on an "AS IS" basis. Prospective bidders should
review the Conditions and Buying at Auction guide.
251_3Z3PT_N07888-431.jpg
LOT 431
RICHARD ESTES (B. 1936)
HOLLAND HOTEL
8,000—10,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 8,400 USD
MEASUREMENTS
sheet c. 1220 by 1830mm 48 by 72in.
DESCRIPTION
Screenprint in colors, 1984, signed in gold ink and inscribed 'A.P', one of 15
artist's proofs, aside from the numbered edition of 100, published by
Petersburg Press, New York, apparently in good condition, framed *(not
examined out of frame)
This lot is sold subject to Sotheby's Conditions of Sale. As stated in the
Conditions, all lots are sold on an "AS IS" basis. Prospective bidders should
review the Conditions, Glossary and Buying at Auction guide.
26_3W82R_N07835-538
LOT 538
Property from a Private Midwest Collector
RICHARD ESTES
B. 1936
URBAN LANDSCAPES II
8,000—12,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 8,365 USD
MEASUREMENTS
each image: 505 by 338mm 19 7/8 by 13 1/4in.
DESCRIPTION
The complete portfolio, comprising eight screenprints in colors, 1979, each
signed in pencil and numbered 18/100 (total edition includes 15 artist's
proofs), on Fabriano paper, published by Parasol Press, Ltd., New York, with
full margins, in good condition apart from traces of pale light stain, framed
*(five not examined out of frames) (8 prints)
This lot is sold subject to Sotheby's Conditions of Sale. As stated in the
Conditions, all lots are sold on an "AS IS" basis. Prospective bidders should
review the Conditions and Buying at Auction guide.
27_PFZ2_N07717-646
LOT 646
Richard Estes (b. 1936)
8,000—10,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 15,600 USD
DESCRIPTION
Richard Estes (b. 1936)
URBAN LANDSCAPES
The complete portfolio, comprising eight screenprints in colors, 1972, each
signed in pencil and numbered 31/75, on Schoellers Parole paper, published
by Parasol Press, Ltd., with full margins, in good condition, contained in
original beige linen-covered portfolio (with surface soiling and wear) (8 prints)
each sheet c. 499 by 698mm. 19 5/8 by 27 1/2 in.
28_PFZ3_N07717-647
PFZ3_N07717-647.jpg
LOT 647
Richard Estes (b. 1936)
8,000—10,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 9,000 USD
DESCRIPTION
Richard Estes (b. 1936)
URBAN LANDSCAPES III
The complete portfolio, comprising eight screenprints in colors, 1981, each
signed in pencil, dated and numbered 25/250 (total edition includes 15 artist's
proofs), on Fabriano paper, published by Parasol Press, Ltd., New York, with
full margins, in good condition, contained in original green linen-covered
portfolio (8 prints)
each 355 by 506mm. 14 by 19 7/8 in.
29_RZYF_NY7550-58
RZYF_NY7550-58
LOT 58
Richard Estes
200,000—300,000 USD
Lot Sold. Hammer Price with Buyer's Premium: 203,750 USD
DESCRIPTION
RZYF_NY7550-58.jpg
Richard Estes
b. 1936
REVOLVING DOORS
oil on mansonite
30 by 40 in.
76.2 by 101.6 cm.
Painted in 1968.
Provenance
Louis K. Meisel Gallery, New York
Dr. Jack E. Chachkes, New York
Exhibited
Tokyo, Isetan Museum of Art; Osaka, The Museum of Art; Horoshima,
Hiroshima City Museum of Contemporary Art, Richard Estes, 1990, cat. no. 6,
p. 23, illustrated in color
Literature
Louis K. Meisel, Richard Estes: The Complete Paintings 1966-1985, New
York, 1986, cat. no. 30, p. 45, illustrated in color
Pictures from Image Archives:
Richard Estes at CGFA
http://cgfa.sunsite.dk/e/e-4.htm#estes
30_estes2
Richard Estes
Central Savings
1975
oil on canvas
Nelson-Atkins Museum of Art, Kansas City, MO. 139KB
31_estes1
Richard Estes
Cafe Express
1975
oil on canvas
The Art Institute of Chicago. 133KB
Bildindex der Kunst und Architektur (in German)
http://www.bildindex.de/rx/apsisa.dll/registerinhalt?sid=&cnt=&rid=2&aid=*&qu
ery=+xdbpics%3Aalle%20+r1a_name%3A'E*'%20%20+r1a_name%3A%22es
tes,%20richard%22&no=1&count=50&sort=no&rid=2
32_mi03349f02b
obj 00071219:
Estes, Richard
Broadway 2
Bild, Aachen, Sammlung Ludwig, Peter & Ludwig, Irene
33_mi01554e03b
obj 05010033:
Estes, Richard
Food Shop
1967
Bild, Köln, Museum Ludwig, ML 01188
California State University WorldArt Web Kiosk
http://worldart.sjsu.edu/4DACTION/HANDLECGI/CTN1?theKW=Richard+EST
ES&RefineSearch=NewSelection
Detroit Institute of Arts Image Database
http://diamondial.org/cgi-local/DiaImage.cgi?acc=1985.30
34_1985.30
Welcome to 42nd Street (Victory Theatre)
1968
Oil on masonite
x 61
Estes, Richard
American
b.1936
Founders Society Purchase with funds from the Friends of Modern Art in
honor of the Detroit Institute of Arts Centennial
Accession Number 1985.30
Other Web Sites:
hyperrealism·net
http://www.hyperrealism.net/tableau%207.htm
35_Estes%203
Richard Estes
Apollo
1968
Collection de l'artiste
61 x 91,4 cm
© Richard Estes
Apollo, 1968
Articles:
artcritical, the online magazine of art and ideas
A Dialogue Between Gregory J. Peterson and Richard Estes
http://www.artcritical.com/studiovisit/GPEstes.htm
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