Richard Estes: Voyages

richard estes

V O YA G E S

COVER: Staten Island Ferry Docking Manhattan, 2008, Oil on panel, 23 1/8 x 16 inches

V OYA G E S

r i c h a rd e s te s MARCH 1 – 31, 2022

A founder of the international photo-realist movement in the 1960s, Richard Estes has been painting representations of his surrounding for almost six decades. Estes’ oil paintings create an illusion of observable reality, appearing at first glance to be a photograph. Working from snapshots that he has taken on his travels as “studies,” Estes takes artistic liberties in the final composition by moving or removing objects and people, making each scene depicted his own. He captures light, texture, and the sublimity of nature in a way that few painters before have been able to accomplish. Estes’ treatment of architectural lines, reflections, and perspective give the viewer pause as they contemplate how meticulously the artist applied paint to every square inch.

Adelson Galleries is proud to present “Voyages” at our Palm Beach gallery in collaboration with Menconi & Schoelkopf Fine Art. The exhibition is composed of 26 artworks, spanning from 1980 to present. An essay by Patterson Sims at the end of this catalog reveals insight into Estes’ artistic process, stylistic development, and career as one of the most renowned contemporary painters.

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Holland Hotel, 1980 Screen print on paper 44 1/2 x 71 3/8 inches Artist’s proof from the edition of 100 plus 15 artist’s proofs

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Japan Street Crossing, c. 1990 Oil on paperboard 14 7/8 x 21 7/8 inches

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Mount Desert V, 1996 Oil on paper mounted on wood 10 1/2 x 8 inches

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Study X - Breads, 1996 Oil on paper 5 x 8 inches

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Study XV - Breads, 1996 Oil on paper 7 x 16 inches

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Approaching Storm, Lake Champlain, 1997 Oil on canvas 16 x 31 1/2 inches

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Sailing, 1999 Oil on panel 16 x 24 inches

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A Trail in Acadia National Park, 2006 Oil on board 18 7/8 x 12 3/4 inches

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Late Afternoon Tide, Provincetown II, 2006 Oil on panel 13 1/2 x 20 1/8 inches

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The Coastline of Maine, 2006 Oil on board 13 7/8 x 19 1/2 inches

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Staten Island Ferry Docking Manhattan, 2008 Oil on panel 23 1/8 x 16 inches

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Beech Hill I, 2010 Oil on panel 22 3/4 x 15 1/2 inches

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Tahiti, 2010 Oil on panel 9 x 18 1/2 inches

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Mount Cook (New Zealand), 2010 Oil on panel 5 3/4 x 18 1/2 inches

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View in Nepal, 2010 Oil on canvas 32 x 43 inches

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Galapagos, 2010 Oil on panel 12 x 16 1/4 inches

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Antarctica II, 2013 Oil on panel 16 3/4 x 22 3/4 inches

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Antarctica III, 2013 Oil on board 17 x 24 inches

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Vineyard Near Stellenbosch, South Africa, 2015 Oil on panel 12 x 16 inches

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Ngorongoro Crater V, 2015 Oil on panel 11 3/4 x 19 3/4 inches

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Escalator at Columbus Circle Subway Station, 2017 Oil on board 29 x 18 inches 24

Starbucks Self Portrait, 2017 Oil on board 18 x 25 3/4 inches

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Wholesome Foods #2, 2018 Oil on panel 16 x 22 1/4 inches

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Crosstown Bus, 2018 Oil on panel 19 3/4 x 14 1/8 inches

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View from Cadillac Mountain, 2020 Oil on panel 16 x 22 inches

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Century, 2020 Oil on canvas 30 x 45 inches

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V OYA G E S

r i c h a rd e s te s

by PATTERSON SIMS

that was the foundation of Estes’s artistic life. Chicago is a scant twelve miles away from Evanston and they are connected by excellent public transportation. He could walk two blocks from his family’s apartment to take the Chicago “L” rapid transit and, as he looked young for his age, well into his teens could get a child’s fare. In high school Estes realized he wanted to be an artist, setting him apart from fellow classmates. His sensibility and ambition were in turn further inspired and nurtured by the architecture, urban spaces, and cultural richness of Chicago, where, after his high school graduation in 1950, he commuted from Evanston to work as a file clerk.

The nearly fifty-five-year span of the captivating realism of Richard Estes (born 1932) displays an extraordinary skill and clarity of vision that has placed him in the forefront of representational painters not just in the United States but in Europe, South America, and Asia as well. Enveloped within the last twelve decades of art dominated by abstraction, conceptual practice, and new media, Estes’s radiant realist paintings and prints precisely apprehend the world based upon his own sharply focused individual and seamlessly combined photographic images. His engagement in seeing reality photographically began with the gift, when he was eight years old, of an Eastman Kodak Brownie camera. In his early teens, Estes started developing his photographs himself at home. Camera images have been his tool since the late 1960s to make multiple precise “sketches” of what catches his eye that will become, somewhat arbitrarily yet with a wellhoned instinct, months or sometimes a year or more later the compositions of his paintings and prints.

In May of 1951, having saved money and with a new camera given to him by his aunt, he first traveled to Europe, beginning in England and spending a week in London before a severalmonth “grand tour” of the continent. Though it was never a component of his parents’ lives, foreign travel has been a regular, exhilarating, and an artistically inspirational aspect of Estes’s life. While making an enormous body of work, Estes has also likely traveled as constantly and widely as any studio-based painter in history.

A midwestern American, Estes was born in the agrarian village of Sheffield, Illinois’s hospital and raised twenty miles away in Kewanee before his family moved on for a better job for his father to Evanston, Illinois, which is about 160 miles from Kewanee.

Fortunately, there was also a fine public library, Northwestern University, and a large high school there. Evanston considered itself the “Athens of America” and it, along with Chicago, provided the intellectual stimulation

Estes returned to Chicago towards the end of 1951 hoping to study with the famed German-born architect Mies van der Rohe at the Illinois Institute of Technology. He applied too late to be accepted into this esteemed program, but architecture has remained an enduring interest and been central to much of 30

his art. Estes was soon admitted to the School of the Art Institute of Chicago. Its traditional approach and studio-based classes proved less useful to him than the opportunity to regularly see the Art Institute’s stellar encyclopedic holdings. The focus on drawing from models at the School of the Art Institute of Chicago did lay the groundwork for the figurative first chapter of his mature paintings.

But he asserts that the most powerful part of studying at the Art Institute was that the art he could see there was real, original work, not magazine or textbook reproductions. Estes prized the accessible physical presence of the Art Institute’s collection. He was especially drawn to the museum’s pre-twentieth-century European paintings, remembering vividly his regular encounters with Gustav Caillbotte’s Paris Street; Rainy Day, and Georges Seurat’s A Sunday on La Grande Jatte.

have most attracted Estes, though he was originally unaware that Sheeler used his own photographs as the source for his drawings and paintings. Otherwise, art made since 1900 holds little interest for Estes.

By 1958, having gone back and forth from Chicago, Estes moved permanently to New York City. He saved enough money from his commercial work to return to Europe from 1961 to 1963. Into the mid-1960s, back in New York City, Estes continued to earn his living with illustration and other freelance commercial art assignments. Most of his professional work was done at home. Being confined in an office never appealed to him.

He has always had his studio spaces in his apartment or his house in Maine.

Estes’s early watercolors and paintings consisted of small and sketchy oil paintings and watercolors of anonymous, usually older, figures observed in New York City public settings and parks along with a few city streetscapes. By 1966 the central role of the usually older figures seen in his atmospheric, somber earlier 1960s paintings and watercolors ceased. Urban facades most powerfully offered the information he was seeking.

The loose, unfinished execution of Estes’s early to mid-1960s figurative paintings suggests the influence of Cézanne’s later art. Though by 1966 Estes’s work has been strictly based on his own photographs, his works exist within the paradigms, traditions, and continuum of post-sixteenth-century European painting and its nineteenth and early twentieth American offshoots. The polished realism of Van Dyck and architectural richness of seventeenth-century Dutch urban landscape vignettes engage him more than the figurative paintings of Vermeer and Rembrandt. For their flawless rendering of architecture and public space and incidental inclusion of figures Bernardo Bellotto and, somewhat less, Bellotto’s uncle, Giovanni Caneletto, are among his favorite painters.

In American art, it is Frederick Church’s epic landscapes, the paintings and peripatetic life of John Singer Sargent, and the photographic veracity of Charles Sheeler that

Though Estes has painted one major portrait of a close friend, a few portrait commissions, and several self-portraits, the human figures, even when numerous or more prominent in his paintings and prints of cities, are otherwise incidental and anonymous. For an artist so devoted to urban scenes, it is striking that the figure plays such a minor role in his art. There are very few suggestions in his mature art of emotional nuance, psychological content, interconnection, or narrative. As occurs in large cities, the sense of connection is minimal between people on the street or in 31

other public spaces and on buses, subways, or ferry boats. His paintings adopt the New York City attitude of social distance from and seeming habitual indifference to others.

the upper east side of Manhattan. He finally found a positive response at Allan Stone Gallery, the furthest north gallery he visited.

In early 1968 he had his first solo show at Stone’s well-established and regarded gallery.

The show included Food City, 1967, which is considered his earliest sharp-focused photorealist painting. All the paintings in the show were quickly sold, many to one collector. Estes became and stayed financially secure and has not stopped painting since.

His paintings of the late 1960s and thereafter regularly focused on city facades and highly reflective surfaces and urban details. Estes’s meticulous mode of realism—the way he and his cameras look at the world coupled with his astonishing artistic proficiency—has remained remarkably consistent since Food City.

Through the 1970s Estes made his photographs with a succession of tripodmounted analogue cameras. By the 1980s, he shifted to hand-held cameras which were mandated as he traveled abroad and more frequently. Around 2001, though he continued to use his conventional cameras, Estes began to move to digital cameras and formats and now uses his iPad and cell phone for his source images. His photographs give him the information he needs. While strictly using the precision of photography, he can leave out what does not interest him or serve his compositional needs. In his paintings of urban vistas and panoramic views of New York City and other urban, natural, and historical sites, Estes deftly adjusts and seams together with the photos and the multiple perspectives he has taken of his subjects. His titles and famed structures and sites can lead one to where he derived his images, but the passage of time and the final compositions of his paintings and prints often make it impossible to re-see what his photo-based paintings so declaratively announce are observable reality.

From its start, Estes’s art has demonstrated the fundamental concept that a painting is a window to another reality or realm. His talent and his art’s basis in photography give him the medium’s powerful ability to record visual reality and further enhances his artwork’s capacity to connivingly puncture the wall into another place and reality. While the majority of Estes’s many paintings and prints are of New York City, he has depicted numerous other places. From the start, the lure of travel has been key to Estes’s life and aesthetic and broadened his art’s appeal. In 1968 at the start of his mature art, a commission from Sports Illustrated magazine took him to six U.S. cities and Montreal. In 1970 a trip to California to visit his parents occasioned his Cupid Wedding Chapel in Reno, Nevada, arguably his most sentimental painting, which hangs in his Maine bedroom. In the 1970s trips to Boston, Miami, and Philadelphia resulted in paintings. Other early subjects

Approaching his late thirties Estes became more ambitious about getting New York City gallery representation. He wanted to channel all his energies and time to painting and was determined to make his living through his art. Having saved money, he stopped doing advertising and illustration jobs and began to devote full time to completing larger-sized paintings for a set of slides of his work that he could take around to show to galleries.

In the fall of 1967, slides in hand, he made the round of galleries, then mostly located on 32

As it turned out, he was initially unable to work, and then the Paris print workshop’s lithography process did not prove compatible with what Estes wanted. With an interlude in Hungary and Russia, he connected with the Editions Domberger silkscreen workshop in Stuttgart, Germany to make over the next twenty years the first of three portfolios of Urban Landscape prints and several other individuals, large-scale silkscreens. His Urban Landscapes mixed New York City views with those from other U.S. cities and European locales including Piccadilly Station in London and views of Paris, Rome, Venice, and Salzburg. His Domberger print-making trips afforded before, during, and after a springboard for side trips in Europe.

such as Astrojet, 1967; Alitalia, 1973 (the Italian airline’s New York City office); and Airstream, 1974 testify that wanderlust and the shiny allure of cities have been implicit to his life and what he has chosen to depict.

Estes has always been a great walker, eagerly exploring cities, historic sites, and natural wonders on foot, but his many New York City images also celebrate movement and exploratory journeys taken by subway, bus, and ferry boat. His depictions of New York City public transportation are notable for the cleanliness of these conveyances. His ancient sites are tidy, just as his city images are pristine and unquestioning testaments to the built world and rampant capitalism. The glistening sheen of Estes’s realism is almost always litter-free.

Based on photographs made while in Paris in 1971, in 1972 Estes made his first non-U.S. subject, Paris Street Scene. In 1976, along with a second view of Paris, Café Express, Estes’s Murano Glass, Venice, a souvenirstuffed facade, was his first painting of Venice, his favorite city after New York.

In 1979 and 1980, he produced four more paintings of Venice; three vistas, two of which reveled in the expanses of water that he had come to relish since his time in Maine, along with another densely filled tourist storefront.

In 1981, his third trip to the printmaking workshop in Stuttgart yielded his final portfolio of Urban Landscapes and Flughafen, a painting of a German airport. He also found time for enticing side visits to Switzerland, France, and Italy. His 1983 visit to the Iberian Peninsula resulted in three years later in View of Barcelona. Pont Alexandre, Paris, and Piazza di Spagna, Roma were made in 1986 as well. His Tower Bridge, London, one more commanding European city landmark, was painted in 1989.

Estes’s art has had a lifelong focus on New York City with his amazing procession of crystalline big and small paintings, but soon other U.S. and European cities became the subject of his works. It took years longer for the natural world to appear in his art. Estes effectively discovered the natural world and its appeal when he visited his art dealer and friend Allan Stone and his wife, Clare, on Mount Desert Island in Maine in the summer of 1969. Back on Mount Desert Island in 1974, he considered buying a place there, which he did the following year, acquiring from the Stones the large house and outbuildings on a property near Northeast Harbor that Stone had inherited from his father. Maine became Estes’s legal residence, and he has since divided his life between his Northeast Harbor property, his apartment on Central Park West in Manhattan, and his travels.

In 1971, Bob Friedman of Parasol Press invited Estes to make a set of prints in Paris. Estes sublet his apartment and went to France.

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Estes spent the spring of 1989 in Japan in preparation for a major solo show there in 1990, when he returned. The two trips resulted in eight paintings of Japan, one large view of Shinjuku section of Tokyo, and six small paintings using “Edo,” the historic name of Tokyo as their series title. The series pictured two of the city’s most prominent districts, Ueno along with Shinjuku. The other large Japanese painting was a solemn, subdued view of Hiroshima, a commissioned memorial that Estes ended up retaining for himself.

and his incorporation of water in views of Venice, Florence, Paris, Cordova, London, and elsewhere, Estes produced many smallscale paintings of waves based on photos he took in New York City, Maine, and on a visit to Lake Champlain. In his over twenty years of spending months in Maine it was the first time he turned to the state’s fabled land- and seascapes. But he succumbed and many small and large Mount Desert Acadia National Park landscapes and other water views have ensued. His long resistance to depicting Maine is understandable given that the terrain and coastline have been powerfully explored by many of the most esteemed American artists of the nineteenth and early twentieth century.

Especially evident in his immediately post9/11 paintings of Mount Katahdin, directly modeled on Frederick Church’s view of the state’s highest peak, Estes’s Maine paintings are very much in the spirit and tradition of Church.

The global reach and subjects of Estes art expanded with his affiliation with Marlborough Gallery in 1993. Over the next nearly thirty years Estes would have exhibitions in all of Marlborough’s locations; London, New York City, Madrid, Monte Carlo, and Santiago.

Evinced by their solo presentation of Estes at the 1993 FIAC art fair in Paris, Marlborough was an active participant in the increasing number of art fairs that congregated art dealers and collectors in venues around the world. The London Marlborough Gallery had been the first branch and headquarters of Marlborough, and as such, the city assumed a more important role in Estes’s life. In May 1995, Estes took a several-week trip to England.

In late winter and spring of 1997, Estes traveled extensively in India by rail, and in November he went to Turkey. He carefully recorded these and other trips with his photographs, and, as he had with earlier city and nature subjects, produced numerous small-format paintings. In India for all its exotic cultural and monumental appeal, only a small painting of Agra resulted, though Khajuraho, Varanasi, Jaipur, and Mumbai were part of his itinerary.

Also, in 1998 two small images were derived from his trip to Turkey, The Overnight Boat for Ishmir and Sea of Marmara. His small works were quicker to finish and suited to the free time Estes had to work. He always enjoys the act of painting, but as he got older and in his years of extensive travel, he was less inclined to work on the larger scale of the first decades of paintings. Pretty much no matter how much or where else he traveled, Estes’s arresting

Estes had resisted incorporating the natural world in his art until 1983 when large older trees were given a central, foreground position in several paintings done in the vicinity of Lincoln Center, a frequent destination for Estes’s walks, armed with his camera. Later, tall mature trees became the focus of some of his cityscapes in New York City’s Central Park: the view out his fifth-floor apartment window. In the late 1990s, initiated with many earlier, simultaneous, and later views of the wake of New York City ferry boats 34

New York City street scenes and commercial storefronts, architectural monuments, and ferry boat views have kept flowing from his Maine and New York City studios.

of the Rosary in Vence, and Cézanne’s studio and painting sites in Aix-en-Provence. In 2004, he visited Poland in conjunction with a group exhibition including his work, and in August he and Jones went on an Alaskan cruise, which Estes commemorated with a striking group of seven ice- and seascapes.

He also made the one small painting of a glowing sunset observed in Kerala on his visit to India the previous year. In October he was off to Venice, Switzerland, and Austria.

In late 1997, Estes met the musician Chris Jones who became his travel mate and later partner for the most extensive series of trips Estes had ever taken. With Jones Estes set off to northern Europe in June of 1998. Then they went to Peru in January of 1999, which generated a particularly spectacular painting of Machu Picchu. In May, they flew twice to Europe.

All the while, amid these incessant travels at the start of a new century, numerous, detailpacked paintings of New York City evinced the still primary subject of his art. At the end of 2005 and the start of the new year, Estes went on a trip to South America that culminated in Antarctica, photos from which were the source of many later paintings. Then in 2006, Estes focused on images of Mount Desert Island, re-grounding himself and his art in his other favored home environment. In Acadia Park II Estes initiated a now extensive series of tree “detritus,” intersecting fallen limbs, and stark forest views observed on his walks in Mount Desert Island’s Acadia National Park.

Periodically, amid the many, mostly small, paintings of the places and sites of his travels, large-scale paintings were made. His monumental Paris Opera, 2000 resonates with what makes Estes’s art so impressive: urban dynamism, a fabled structure, with a complex array of reflections perceived from the interior of a bus. History, beauty, and banality fastidiously combined and conveyed.

As a dizzying succession of trips occurred for Estes over the next fifteen years alone or with Jones or other friends he seemingly indefatigably traversed the world: separate travels to Morocco and Rome in 2000, Holland and Sweden in the summer, and back to Italy in 2001, and Germany and again Italy in 2002. He started 2003 with a month-and-a-half journey to Southeast Asia, highlighted by Angor Wat and then was off to Thailand, Myanmar, and an array of other Southeast Asian nations that ended in India.

By September and October, he was on foreign roads again in France, en route to his solo show of recent works at Marlborough Gallery’s Monaco gallery space. He made stops at Le Corbusier’s modern religious monument, the Chapelle Notre-Dame-du Haut de Ronchamp, Henri Matisse’s Chapel

Though Estes is a shy person, the openings of exhibitions abroad usually incited trips. In March of 2007, for the opening of a museum survey of his work in Reggio Emilia, he flew to Venice. In May, he was back in Venice and northern Italy and then on to Russia, followed

by Spain, after a driving trip in Germany. For the second venue of his solo Reggio Emilia show held at the Museo Nacional ThyssenBornemisza in Madrid, he took the opportunity to go to three historic towns in Spain. At the end of the year, Estes and Jones visited the Galapagos Islands. Somehow amid this travel-packed year, Estes completed the first 35

Baroque and stark, their confrontations of land and sky make an argument for Estes’s skill as an abstract painter.

thirteen of his Antarctica paintings, his most extensive series of travel pictures. In 2011, Estes returned to Antarctica on a smaller boat, which allowed its passengers to get closer to the ice floes, and in 2013, he added four more paintings to the series. The most poignant and compositionally striking examples of which, such as Antarctica II, insert the cruise ship’s definitive slice of human intrusion at the edge of the paintings.

An intriguing re-exploration and motif surfaced nearly sixty years later in Estes’s group of small-scaled paintings of 2019; Men in Madrid, Straphangers, At the Met, Airline Terminal, and Norway. These works isolate and focus on people in a manner that is akin to Estes’s early and mid-1960s figuration, though the 2019 works now include foreign locales and faces and sharper, photo-based representation.

The fall of 2008 brought Estes and Jones to Nepal to trek. A slight accident required a helicopter ride that presented Estes with the opportunity to photograph mountain tops, small paintings of which were made in 2009 and 2010. In 2009, again to escape another cold New York City winter, they went to New Zealand, which generated several smaller, dramatic landscape paintings that year and the next.

Another argument for the power of Estes’s images of nature rivalling his iconic cityscapes as well as the abstraction embedded in his realism are his six enumerated 2020 Acadia Park images. These pileups of fallen trees, such as Acadia Park II, inevitably link up to the COVID pandemic’s wrath and the climate change and man-made environmental destruction that that has altered the Maine coast and its crown jewel, Acadia National Park.

Frequent travel and trips continued over the next decade, not always with paintings of his destinations resulting. Europe remained his favorite and most frequent place to visit, but he ventured to South America, North and South Africa, and Asia. Photo safaris in Zambia, Zimbabwe, South Africa, and Tanzania generated vivid landscapes with no animals in sight. The park and reserve lands of Tanzania and his three paintings of Ngorongoro Crater remain some of Estes’s most striking landscapes. The highlighted tree trunks and brooding clouds of Serengeti belie its scale and are like a still from an epic film. Estes’s proficiency with painting skies began to match his handling of water. He had always found clouds more challenging than water, but the big skies of Africa and New Zealand, such as the spectacular cloud formations of Ngorongoro Crater II and New Zealand II, took possession of the paintings.

Highly active with his ninetieth birthday a few months ahead, Estes remains hard at work.

His talent is matched in his longevity. The atmospheric tonal passages and amorphous execution of his recent Self-Portrait in Copenhagen (with his head as an iPad camera, taking the image that turns into the painting) cunningly mixes penetrating clarity with highly atmospheric evocation. His life of voyages has become even more awesome and compelling in a period when travel has become ominously restricted.•

by Patterson Sims Special thanks to Helen Ferrulli

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r i c h a rd e s te s 1932 Born in Kewanee, Illinois; raised in Sheffield, Illinois The artist lives and works in New York and Maine 1991

Education 1952–56 Studied at the School of the Art Institute of Chicago

1990

Awards 1996 Awarded the MECA Award for Achievement as a Visual Artist, Maine College of Art, Portland 1985 1983 1978–79

Solo Exhibitions 2021 Richard Estes: Urban Landscapes, Portland Museum of Art, Maine Richard Estes: Voyages, Menconi + Schoelkopf, New York 2017 Richard Estes: Obra Reciente, Galería Marlborough, Barcelona 2016 Richard Estes, Art Basel Miami Beach, Florida 2015 Richard Estes: Painting New York City, Museum of Art and Design, New York Richard Estes: African Sketches, Marlborough Broome Street, New York 2014 Richard Estes’ Realism: A Retrospective, Portland Museum of Art, Maine Richard Estes: Recent Paintings, Marlborough Gallery, New York 2012 Richard Estes: The Urban Landscape, Sims Reed Gallery, London Richard Estes: New York By Night, Marlborough Gallery, New York 2010 Richard Estes, Marlborough Monaco, Monte Carlo 2008 Richard Estes: Antarctica, New England, and New York, Marlborough Gallery, New York Richard Estes: Die Serigraphien, Edition Domberger, Filderstadt, Germany 2007 Richard Estes: La sensualità del reale, Palazzo Magnani, Reggio Emilia, Florence, Italy; and Museo Thyssen-Bornemisza, Madrid 2006 Richard Estes: Recent Work, Marlborough Gallery, New York 2003 Richard Estes: Pinturas Recientes, AMS Marlborough, Santiago, Chile Richard Estes: Oeuvres Récentes, Marlborough Monaco, Monte Carlo 2001 Richard Estes: Recent Paintings, Marlborough Gallery, New York 1999 Richard Estes, Centro Cultural Recoleta, Buenos Aires, Argentina 1998 Richard Estes: Obra Reciente, Galería Marlborough, Madrid Richard Estes: Six New Paintings, Marlborough Gallery, New York 1997 Small Paintings, Marlborough Gallery, New York 1995 Richard Estes: New York Paintings, Marlborough Gallery, New York 1993 Richard Estes–New York Cityscapes, FIAC 1993, Grand Palais, Paris 1992–95 Richard Estes: The Complete Prints, University Art Gallery, Stony Brook University, New York; Canton Art Institute, Ohio; Middlebury College Museum of Art, Vermont; Louisiana Arts and Science Museum, Baton Rouge; Columbia

1977 1974 1972 1970 1969 1968

Museum of Art, South Carolina; The Nelson-Atkins Museum of Art, Kansas City, Missouri; Huntsville Museum of Art, Alabama; and Hunter Museum of Art, Chattanooga, Tennessee Richard Estes: Urban Landscapes, Portland Museum of Art, Maine Foster Goldstrom Gallery, New York Richard Estes: The Complete Prints and the Japan Paintings, Sert Gallery, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts Richard Estes 1990, Isetan Museum of Art, Tokyo; Museum of Art, Kinetsu, Osaka, Japan; and Hiroshima City Museum of Contemporary Art, Japan Louis K. Meisel Gallery, New York Richard Estes: A Decade, Allan Stone Gallery, New York Richard Estes: The Urban Landscape, Museum of Fine Arts, Boston; Toledo Museum of Art, Ohio, The Nelson-Atkins Museum of Art, Kansas City, Missouri; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Allan Stone Gallery, New York Allan Stone Gallery, New York Richard Estes, Museum of Contemporary Art, Chicago Allan Stone Gallery, New York Thirty-sixth International Biennial Exhibition, Venice, Italy Allan Stone Gallery, New York Allan Stone Gallery, New York Allan Stone Gallery, New York Hudson River Museum, Yonkers, New York

Group Exhibitions 2017–18 The American Dream: American Realism, 1945–2017, Drents Museum, Assen, The Netherlands; Kunsthalle Emden, Germany 2016 Art of Acadia, Northeast Harbor Library, Northeast Harbor, Maine Summer Group Exhibition, Marlborough Gallery, New York 2015 Summer Group Exhibition, Marlborough Gallery, New York 2014 Photorealism: Revisited, Mana Contemporary, Jersey City, New Jersey 2013 Photorealism, Birmingham Museum and Art Gallery, United Kingdom Fernando Botero, Richard Estes, Manolo Valdes: Peintures et Sculptures, Marlborough Monaco, Monte Carlo 2012 Painting Air: Spencer Finch, Museum of Art, Rhode Island School of Design, Providence [Space] Travel, Johnson Museum of Art, Cornell University, Ithaca, New York ReFocus: Art of the ’70s, Museum of Contemporary Art, Jacksonville, Florida Guggenheim Collection: The American Avant-Garde 1945–1980, Palazzo delle Esposizioni, Rome (organized by The Solomon R. Guggenheim Museum, New York) Photorealism: Painting with a Camera, Kunsthalle Tübingen, Germany Exposition de groupe, Marlborough Monaco, Monte Carlo

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2011

2010

2009

2008–09 2008 2007 2006

2005–06

Leben Mit Pop!, Museum der bildenden Künste Leipzig, Germany Multiplicity, Arkansas Arts Center, Little Rock Group Exhibition, Marlborough Monaco, Monte Carlo Summer Group Exhibition, Marlborough Gallery, New York Optical Noise, David Winton Bell Gallery, Providence, Rhode Island An American Collection, National Academy Museum and School, New York Our Own Directions: Four Decades of Photorealism from the Louis K. and Susan P. Meisel Collection, Mana Contemporary, Jersey City, New Jersey Summer Group Exhibition, Marlborough Gallery, New York Multiplicity, Smithsonian American Art Museum, Washington, D.C. The American Art: Masterpieces of Everyday Life from the Whitney Museum of American Art, National Museum of Contemporary Art and the National Art Museum, Deoksugung, Korea East of Eden/Photorealism: Versions of Reality/Photorealism as a Cold War Phenomenon, Ludwig Museum, Budapest, Hungary Recent Acquisitions, Reading Public Museum, Pennsylvania The 100th Annual Exhibition of Contemporary Art: The Vision Endures, Maier Museum of Art at Randolph College, Lynchburg, Virginia New York for Sale, Katonah Museum of Art, New York Scream Collection Part II, Scream London Hyper Real: Kunst und Amerika um 1970, Ludwig Forum für Internationale Kunst, Aachen, Germany Graphics Group Exhibition, Marlborough Gallery, New York 10 ans deja, Marlborough Monaco, Monte Carlo Realism, the Adventure of Reality: Courbet, Hopper, Gursky, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany Volunteer Voices: Selections from the Collection of the Kemper Museum, Kemper Museum of Contemporary Art, Kansas City, Missouri Picturing America: Photorealism in the 1970s, Deutsche Guggenheim, Berlin, Germany American Dream, The National Museum in Krakow, Poland Summer Exhibition, Marlborough Gallery, New York Cityscapes: Works of the Photorealists, Art Museum of Southeast Texas, Beaumont Shock of the Real: Photorealism Revisited, Boca Raton Museum of Art, Florida Group Exhibition, Marlborough Monaco, Monte Carlo Painting and Sculpture, Marlborough Gallery, New York Summer Exhibition, Marlborough Gallery, New York Variations on a Theme: American Prints from Albers to Lichtenstein, A Selection from the Anderson Graphic Arts Collection, Fisher Gallery, University of Southern California, Los Angeles Virginia Highlights: Print Selections from the Permanent Collection, Museum of the Arts of Virginia Commonwealth University, Anderson Gallery, Richmond Big City: Cityscapes and Urban Life from the Collection, Orme Lewis Gallery, Art Museum, Phoenix, Arizona Who Is Imitating Whom? Photography and Photo-Realism in Art, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln; Chadron State College, Nebraska; McKinley Center, North Platte, Nebraska; Cornerstone Bank, York, Nebraska;

2005

2004

2003

2002

2001

1999

1997

1996–98

1996

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High Plains Museum, McCook, Nebraska; Stuhr Museum, Grand Island, Nebraska; Columbus Art Gallery, Nebraska Landscape, Cityscape, Marlborough Gallery, New York Sets, Series, and Suites: Contemporary Prints, Museum of Fine Arts, Boston La Ingeniería Civil en la Pintura, Sala de Exposiciones de la Real Academia de Bellas Artes de San Fernando, Madrid New York, New York, Galería Marlborough, Madrid Masterpieces from the Guggenheim Collection: From Renoir to Warhol, Bunkamura Museum of Art, Tokyo Hyperréalismes USA: 1965–1975, Musée d’Art moderne et contemporain de Strasbourg, France Iperrealisti, Chiostro del Bramante, Rome Transforming the Commonplace: Masters of Contemporary Realism, Susquehanna Art Museum, Harrisburg, Pennsylvania 178th Annual Exhibition, National Academy of Design, New York Tools as Art: The Hechinger Collection, City Museum, Saint Louis, Missouri; Contemporary Art Center of Virginia, Virginia Beach; Peninsula Fine Arts Center, Newport News, Virginia; The Cedar Rapids Museum of Art, Iowa; Joslyn Museum of Art, Omaha, Nebraska; Palmer Museum of Art, Pennsylvania State University, University Park; DeCordova Museum and Sculpture Park, Lincoln, Massachusetts; Charles Avampato Discovery Museum, Charleston, West Virginia; Louisiana Arts Guild, New Orleans; Leigh Yawkey Woodson Museum of Art, Wassau, Wisconsin; Minnesota Museum of American Art, Saint Paul; and Palm Springs Desert Museum, California Third Annual Realism Invitational, Jenkins Johnson Gallery, San Francisco Figuras: Visiones del Arte Contemporáneo, Centro Cultural Puerta Real, Granada, Spain ReApperance: Realism in Contemporary Art, Simmons Visual Arts Gallery, Brenau University, Gainesville, Georgia Water: A Contemporary American View, Gibbes Museum of Art, Charleston, South Carolina; Mobile Museum of Art, Alabama; and Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin Le Futur du Passé, Lieu d’Art Contemporain, Corbières Maritimes, France New York Perspectives, MB Modern, New York CityScapes, Marlborough Gallery, New York ART 1997 CHICAGO: 5th Annual Expo of International Galleries Featuring Modern and Contemporary Art, Navy Pier, Chicago Landscape: The Pastoral to the Urban, Center for Curatorial Studies and Art in Contemporary Culture, Bard College, Annadale-on-Hudson, New York Rediscovering the Landscape of the Americas, Gerald Peters Gallery, Santa Fe, New Mexico; Museum of South Texas, Corpus Christi; Western Gallery, Western Washington University, Bellingham; Memorial Art Gallery, University of Rochester; New York; and Gibbes Museum of Art, Charleston, South Carolina The Landscape of American Culture, 1967–1975, John Berggruen Gallery, San Francisco La Ville Moderne en Europe: Visions Urbaines d’Artistes et d’Architectes, 1870–1996, Museum of Contemporary Art, Tokyo Realism after Seven A.M., The Hopper House, Nyack, New York

On Paper, Galleria d’arte il gabbiano, Rome 1995 Facing Eden: 100 Years of Landscape Art in the Bay Area, Fine Arts Museums of San Francisco Retrat de Barcelona, Centre de Cultura Contemporània, Barcelona Unser Jahrhundert Menschenbilder—Bilderwelten, Museum Ludwig, Cologne, Germany 1994 American Realism + Figurative Painting, Cline Fine Art Gallery, Santa Fe, New Mexico New York Realism: Past and Present, Odakyu Museum, Tokyo; Kagoshima City Museum of Art, Japan; Kitakyushu Municipal Museum of Art, Japan; The Museum of Art, Kintetsu, Osaka; Fukushima Prefectural Museum of Art, Japan; and Tampa Museum of Art, Florida 1992 Six Takes on Photo-Realism, Whitney Museum of American Art at Champion, Stamford, Connecticut On the Edge: Forty Years of Maine Painting, 1952–1992, Maine Coast Artists Gallery, Rockport; and University of Maine, Presque Isle 1991–92 American Realism and Figurative Art: 1952–1990, The Miyagi Museum of Art, Sendai, Japan; Sogo Museum of Art, Yokohama, Japan; Tokushima Modern Art Museum, Tokushima, Japan; Museum of Modern Art, Shiga, Japan; and Kochi Prefectural Museum of Art, Japan 1991 Annual Exhibition, National Academy of Design, New York Images in American Art: 1960–1990, Southern Alleghenies Museum of Art, Lorretto, Pennsylvania In Sharp Focus: Super-Realism, Nassau County Museum of Art, Roslyn Harbor, New York 1989 New York: City By Day/City By Night, Gallery Henoch, New York Contemporary Scenes of New York City, Associated American Artists, New York 1988 20th Anniversary (15 in SoHo): Artists and Movements from Our First Two Decades, Louis K. Meisel Gallery, New York 1987 The Urban Landscape, Louis K. Meisel Gallery, New York 1986–87 American Realism: 20th Century Drawings and Watercolors from the Glenn C. Janss Collection, San Francisco Museum of Modern Art; DeCordova and Dana Museum and Park, Lincoln, Massachusetts; Archer M. Huntington Art Gallery, University of Texas, Austin; Mary and Leigh Block Gallery, Northwestern University, Evanston, Illinois; Williams College Museum of Art, Williamstown, Massachusetts; Akron Art Museum, Ohio; and Madison Art Center, Wisconsin 1986 An American Renaissance: Painting and Sculpture since 1940, Museum of Art, Fort Lauderdale, Florida Landscape, Seascape, Cityscape 1960–85, Contemporary Arts Center, New Orleans; and New York Academy of Art, New York 1985 American Realism: The Precise Image, Isetan Museum, Tokyo; Daimaru Museum, Osaka, Japan; and Yokohama Takashimaya, Japan 1984 What’s New? Important Recent Acquisitions and New Directions, Byer Museum of the Arts, Evanston, Illinois America Seen, Adams-Middleton Gallery, Dallas 1983–85 Assignment: Aviation, The Stuart M. Speiser Photo-Realist Collection, Columbus Museum of Art, Georgia; Springfield Art Museum, Missouri; Anchorage Historical and Fine Arts

1983

1981–82

1981

1980

1979

1978

1977–78

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Museum, Alaska; Denver Museum of Natural History, Colorado; Maryland Science Center, Baltimore; Columbus Museum of Arts and Sciences, Georgia; Neville Public Museum, Green Bay, Wisconsin; and Dane G. Hanson Memorial Museum, Logan, Kansas (organized by the Smithsonian Institution Traveling Exhibition Service) American Super Realism from the Morton G. Neumann Family Collection, Terra Museum of American Art, Evanston, Illinois Modern Art in the West, Tokyo Metropolitan Museum of Art Through the Looking Glass: Reflected Images in Contemporary Art, Heckscher Museum, Huntington, New York Americans in Venice 1873–1913, Coe Kerr Gallery, New York; and The Boston Athenaeum Realism Now, Museum of Modern Art, Saitama, Japan An Appreciation of Realism, Munson-Williams-Proctor Institute Museum of Art, Utica, New York Photo-Réalisme: Dix Ans Après, Galerie Isy Brachot, Paris Contemporary American Realism since 1960, Pennsylvania Academy of Fine Arts, Philadelphia; Virginia Museum of Fine Arts, Richmond; Oakland Museum, California; and USICAsponsored tour to Gulbenkian Museum, Lisbon; and Germanisches Nationalmuseum, Nuremberg, West Germany Super Realism from the Morton G. Neumann Family Collection, Kalamazoo Institute of Arts, Michigan; Art Center, South Bend, Indiana; Springfield Art Museum, Missouri; Dartmouth College Museum and Galleries, Hanover, New Hampshire; DeCordova and Dana Museum, Lincoln, Massachusetts; and Des Moines Art Center, Iowa Seven Photorealists from New York Collections, The Solomon R. Guggenheim Museum, New York Real, Really Real, Super Real, San Antonio Museum of Art, Texas; Indianapolis Museum of Art, Indiana; Tucson Museum of Art, Arizona; and Museum of Art, Carnegie Institute, Pittsburgh, Pennsylvania Toyama Now ’81, Museum of Modern Art, Toyama, Japan The Morton G. Neumann Family Collection, National Gallery of Art, Washington, D.C. Directions in Realism, Danforth Museum, Framingham, Massachusetts Realism/Photorealism, Philbrook Art Center, Tulsa, Arizona American in the 70s as Depicted by Artists in the Richard Brown Baker Collection, Meadowbrook Art Gallery, Oakland University, Rochester, Michigan Art about Art, Whitney Museum of American Art, New York; North Carolina Museum of Art, Raleigh; Frederick S. Wight Art Gallery, University of California, Los Angeles; and Portland Art Museum, Oregon Works by Living Artists from the Collection of Mr. and Mrs. Leigh Block, Santa Barbara Museum of Art, California Photo-Realist Printmaking, Louis K. Meisel Gallery, New York; and Tolarno Galleries Melbourne, Australia Art and the Automobile, Flint Institute of Arts, Michigan; and Monmouth Museum, Lincroft, New Jersey Illusion and Reality, Australian National Gallery, Canberra; Western Australian Art Gallery, Perth; Queensland Art Gallery, Brisbane, Australia; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; National

1977

1976–78

1976–77 1976

1975

1974

Gallery of Victoria, Melbourne, Australia; and Tasmanian Museum and Art Gallery, Hobart, Australia Whitney Biennial Exhibition, Whitney Museum of American Art, New York Works on Paper II, Louis K. Meisel Gallery, New York New Acquisitions Exhibition, The Museum of Modern Art, New York Washington International Art Fair, Washington Armory, Washington, D. C. A View of a Decade, Museum of Contemporary Art, Chicago New Realism, Jacksonville Art Museum, Florida America 1976: A Bicentennial Exhibition, The Corcoran Gallery of Art, Washington, D. C.; Wadsworth Atheneum, Hartford, Connecticut; Fogg Art Museum, Cambridge, Massachusetts; Institute of Contemporary Art, Boston; Minneapolis Institute of Arts, Minnesota; Milwaukee Art Center, Wisconsin; Fort Worth Art Museum, Texas; San Francisco Museum of Modern Art; High Museum of Art, Atlanta; Brooklyn Museum, New York Photo Realism in Painting, Art and Culture Center, Hollywood, Florida; and Museum of Fine Arts, St. Petersburg, Florida Urban Aesthetics, Queens Museum, Flushing, New York Aspects of Realism, Gallery Stratford, Canada; Centennial Museum, Vancouver; Glenbow-Alberta Institute, Calgary; Mendel Art Gallery, Saskatoon, Canada; Winnipeg Art Gallery, Canada; Edmonton Art Gallery, Canada; Art Gallery, Memorial University of Newfoundland, St. John’s, Canada; Confederation Art Gallery and Museum, Charlottetown, P.E.I., Canada; Musée d’Art Contemporain, Montreal; Dalhousie University Museum and Gallery, Halifax, Canada; Windsor Art Gallery, Ontario; London Public Library and Art Museum and McIntosh Memorial Art Gallery, University of Western Ontario; and Art Gallery of Hamilton, Ontario (sponsored by Rothman’s of Pall Mall Canada, Ltd.) Alumni Exhibition, School of the Art Institute of Chicago Three Decades of American Art, Seibu Museum of Art, Tokyo Super Realism, Baltimore Museum of Art, Maryland America as Art, National Collection of Fine Arts, Smithsonian Institution, Washington, D. C. A Selection of American Art, The Skowhegan School 1946–1976, Institute of Contemporary Art, Boston; and Colby Museum of Art, Waterville, Maine American Master Drawings and Watercolors: Works on Paper from Colonial Times to the Present, Whitney Museum of American Art, New York Seventy-second American Exhibition, Art Institute of Chicago Photo-Realists, Louis K. Meisel Gallery, New York Watercolors and Drawings: American Realists, Louis K. Meisel Gallery, New York Trends in Contemporary American Realist Painting, Museum of Fine Arts, Boston Realismus und Realität, Kunsthalle, Darmstadt, Germany Hyperréalistes Américains—Réalistes Européens, Centre National d’Art Contemporain, Paris Twenty-five Years of Janis: Part II, Sidney Janis Gallery, New York Twelve American Painters, Virginia Museum of Fine Arts, Richmond

1973–78

1973

1972–73

1972

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Tokyo Biennale, ’74, Tokyo Metropolitan Museum of Art; Kyoto Municipal Museum, Japan; Aichi Prefectural Art Museum, Nagoya, Japan Three Realists: Close, Estes, Raffael, Worcester Art Museum, Massachusetts Seventy-first American Exhibition, Art Institute of Chicago New Photo-Realism, Wadsworth Atheneum, Hartford, Connecticut New Images: Figuration in American Painting, Queens Museum, Flushing, New York Amerikaans Fotorealisme Grafiek, Museum Boymans van Beuningen, Rotterdam, The Netherlands Kijken Naar de Werkelijkheid, Hedendaagse Kunst, Utrecht, Germany; and Palais des Beaux-Arts, Brussels Contemporary American Paintings from the Lewis Collection, Delaware Art Museum, Wilmington Ars ’74 Ateneum, Fine Arts Academy of Finland, Helsinki Photo-Realism 1973: The Stuart M. Speiser Collection, Smithsonian Institution, Washington, D. C.; Johnson Museum of Art, Ithaca, New York; Louis K. Meisel Gallery, New York; Addison Gallery of American Art, Andover, Massachusetts; Allentown Art Museum, Pennsylvania; University of Texas Art Gallery, Austin; and Witte Memorial Museum, San Antonio, Texas American Art Third Quarter Century, Seattle Art Museum Hyperréalisme, Galerie Isy Brachot, Brussels Twenty-five Years of American Painting, Des Moines Art Center, Iowa The Super-Realist Vision, DeCordova and Dana Museum, Lincoln, Massachusetts Photo-Realism, Serpentine Gallery, London Options 73/30, Contemporary Arts Center, Cincinnati, Ohio Mit Kamera, Pinsel und Spritzpistole, Ruhrfestspiele Recklinghausen, Städtische Kunsthalle, Recklinghausen, Germany Hyperrealisti Americani, Galleria La Medusa, Rome Hyperréalistes Américains, Galerie Arditti, Paris Grand Maitres Hyperréalistes Américains, Galerie des Quatre Mouvements, Paris The Emerging Real, Storm King Art Center, Mountainville, New York; and Galleria Civica d’Arte Moderna, Turin, Italy East Coast/West Coast/New Realism, University Art Gallery, San Jose State University, California Amerikansk Realism, Galleri Ostergren, Malmö, Sweden Amerikanischer Fotorealismus, Württembergischer Kunstverein, Stuttgart, Germany; Frankfurter Kunstverein, Frankfurt; and Kunst und Museumsverein, Wuppertal, West Germany Whitney Annual, Whitney Museum of American Art, New York Colossal Scale, Sidney Janis Gallery, New York Sharp-Focus Realism, Sidney Janis Gallery, New York Seventieth American Exhibition, Art Institute of Chicago The Realist Revival, New York Cultural Center, New York Documenta and No—Documenta Realists, Galerie de Gestlo, Hamburg, Germany Les Hyperréalistes Américains, Galerie des Quatre Mouvements, Paris

1971

1970

1969

1968

1967 1966

2015 Patterson Sims, Richard Estes Painting New York City, New York: Museum of Arts and Design, 2015 2014 Patterson Sims, Jessica May, and Helen Ferrulli, Richard Estes’ Realism, New Haven, CT: Yale University Press, 2014 2012 Richard Estes: New York by Night, New York: Marlborough Gallery, 2012 2010 Richard Estes, Monte Carlo: Galerie Marlborough Monaco, 2010 2009 Valerie L. Hillings, Picturing America: Photorealism in the 1970s, New York: Solomon R. Guggenheim Foundation with Deutsche Guggenheim, 2009 2008 Richard Estes: Antarctica, New England, and New York, New York: Marlborough Gallery, 2008.

Deborah Emont Scott, Museum of Art: A Handbook of the Collection, Kansas City: Nelson-Atkins Museum of Art, 2008 2007 Richard Estes: The Sensuousness of the Real, Milan: Skira, 2007 2006 Richard Estes: Recent Work, New York: Marlborough Gallery, 2006 John Wilmerding, Richard Estes, New York: Rizzoli, 2006 2004 Thomas Krens, Lisa Dennison, and Shunsuke Kijima, Masterpieces from the Guggenheim Collection: From Renoir to Warhol, Tokyo: Bunkamura Museum of Art, 2004 2003 Oeuvres récentes, Monte Carlo: Marlborough Monaco, 2003 Pinturas Recientes, Santiago, Chile: AMS Marlborough, 2003 2002 Pete Hamill, Tools as Art: The Hechinger Collection, New York: Abrams, 2002 1998 Obra Reciente, Madrid: Galería Marlborough, 1998 Six New Paintings, New York: Marlborough Gallery, 1998 1996 La Ville Moderne en Europe, 1870–1996, Tokyo: Museum of Contemporary Art, 1996 1995 Facing Eden: 100 Years of Landscape Art in the Bay Area, San Francisco: Fine Arts Museums, 1995 Helga Behn, Unser Jahrhundert Menschenbilder-Bilderwelten, Heidelberg: Burkurt and Müller, 1995 1994 American Realism + Figurative Painting, Santa Fe, NM: Cline Fine Art Gallery, 1994 New York Realism: Past and Present, Tokyo: Odakyu Museum, 1994 1993 John Arthur, Richard Estes: Paintings and Prints, New York: Chameleon Book, 1993 1992 John Arthur, Richard Estes: The Complete Prints, New York: American Federation of Arts, 1992 Helen Ferrulli, Six Takes on Photo-Realism, New York: Whitney Museum of American Art, 1992 Theodore F. Wolff, On the Edge: Forty Years of Maine Painting, 1952–1992, Rockport: Maine Coast Artist Gallery, 1992 1991 William Jaeger and Constance Schwartz, In Sharp Focus: Super Realism, Roslyn Harbor, NY: Nassau County Museum of Art, 1991 1990 John Arthur and Sumio Kurabara, Richard Estes 1990, Tokyo: Brain Trust, Inc., 1990 John Arthur, Sumio Kurabara, and Nitta Hideki, American Realism and Figurative Art: 1952–1990, Miyagi: Museum of Art, 1990 1984 Art of 42nd Street, New York: Whitney Museum of American Art, 1984 1983 Richard Estes: A Decade, New York: Allan Stone Gallery, 1983 1982 Linda Chase, Super Realism from the Morton G. Neumann Family

Documenta 5, Marlborough Gallery, Kassel, Germany Phases of the New Realism, Coral Gables, Florida Art around the Automobile, Emily Lowe Gallery, Hofstra University, Hempstead, New York Art of the 1960s, Sammlung Ludwig, Wallraf-Richartz Museum, Cologne, Germany; and National Academy of Design, New York Contemporary Selections 1971, Birmingham Museum, Alabama Neue Amerikanische Realisten, Galerie de Gestlo, Hamburg, Germany New Realism, State University College, Potsdam, New York New Realism, Old Realism, Bernard Danenberg Gallery, New York Radical Realism, Museum of Contemporary Art, Chicago Thirty-second Biennial Exhibition of Contemporary American Painting, The Corcoran Gallery of Art, Washington, D.C. Whitney Annual, Whitney Museum of American Art, New York New Realism ’70, Neadley Hall Gallery, St. Cloud State College, Minnesota 22 Realists, Whitney Museum of American Art, New York Painting and Sculpture Today, 1970, Indianapolis Museum of Art, Indiana Centennial Exhibit, Indiana State University, Indianapolis The Highway, Institute of Contemporary Art, University of Pennsylvania, Philadelphia; Institute for the Arts, Rice University, Houston, Texas; and Akron Art Institute, Ohio Directly Seen: New Realism in California, Newport Harbor Art Museum, Balboa, California The Cool Realists, Jack Glenn Gallery, Corona del Mar, California Cool Realism, Albright-Knox Art Gallery, Buffalo, New York; and Everson Museum of Art, Syracuse, New York United States American Painting 1970, Virginia Museum of Fine Arts, Richmond Painting and Sculpture Today, 1969, Indianapolis Museum of Art, Indiana Thirty-fourth Annual Mid-Year Show, Butler Institute of American Art, Youngstown, Ohio Painting from the Photo, Riverside Museum, New York Directions 2: Aspects of a New Realism, Akron Art Institute, Ohio; Milwaukee Art Center, Wisconsin; and Contemporary Arts Museum, Houston, Texas American Report on the ’60s, Denver Art Museum, Colorado Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Champaign-Urbana The Wellington-Ivest Collection, Museum of Fine Arts, Boston Realism Now, Vassar College Art Gallery, Poughkeepsie, New York Biennial Exhibition of American Art, Krannert Art Museum, University of Illinois, Champaign-Urbana American Watercolor Society Ninety-ninth Exhibition, National Academy Galleries, New York

Catalogues and Monographs 2017 The American Dream: American Realism 1945–2017, Assen, Netherlands: Drents Museum, 2017 Richard Estes: Obra Reciente, Barcelona: Marlborough, 2017

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1981

1980

1979

1978

1977

1976

1975 1974

Collection, Michigan: Kalamazoo Institute of Arts, 1982 Photo-Realisme: Dix Ans Après, Paris: Galerie Isy Brachot, 1982 John Manning, An Appreciation of Realism, Utica, NY: Munson-Williams-Proctor Institute Museum of Art, 1982 Frank H. Goodyear Jr., Contemporary American Realism Since 1960, Boston: New York Graphic Society, 1981 Real, Really Real, Super Real: Directions in Contemporary American Realism, San Antonio, TX: Museum Association, 1981 J. Carter Brown, The Morton G. Neumann Family Collection, Washington, DC: National Gallery of Art, 1980 John Perreault, Aspects of the 70s: Directions in Realism, Framingham, MA: Danforth Museum, 1980 Charlotte Stokes, “As Artists See It: America in the ’70s,” in America in the 70s as Depicted by Artists in the Richard Brown Baker Collection, Rochester, MI: Meadowbrook Art Gallery, 1979 John Arthur, Richard Estes: The Urban Landscape, Boston: Museum of Fine Arts and New York Graphic Society, 1978 Aspects of Realism, Stratford, Ontario: Rothmans of Pall Mall Canada, 1978 Susan Pear, The Complete Guide to Photo-Realist Printmaking, New York: Louis K. Meisel Gallery, 1978 Martin Friedman, A View of a Decade, Chicago: Museum of Contemporary Art, 1977 Russel Bradford Hicken, Photo-Realism in Painting, Hollywood, FL: Art and Culture Center, 1977 Barbara Haskell, 1977 Biennial Exhibition, New York: Whitney Museum of American Art, 1977 G. Stuart Hodge, Art and the Automobile, Flint: Institute of Arts, 1977 Ivan C. Karp, New Realism: Modern Art Form, Boise: Gallery of Art, 1977 John Stringer, Illusion and Reality, Sydney: Australian Gallery Directors’ Council, 1977 Thomas N. Armstong, Three Decades of American Art, Tokyo: Seibu Museum of Art, 1976 Brenda Richardson, Super Realism, Baltimore: Museum of Art, 1976 James A. Speyer, Seventy-second American Exhibition, Chicago: Art Institute, 1976 Frederic P. Walthard, Art 7 ’76, Basel: Art Internationale Kunstmesse, 1976 Joshua C. Taylor, America as Art, Washington, DC: National Collection of Fine Arts, Smithsonian Institution, 1975 Amerikaans fotorealisme grafiek, Utrecht: Hedemdaagse Kunst, 1974 Wolfgang Becker, Kunst nach Wirklichkeit, Hannover: Kunstverein, 1974 Jean Clair, Hyperréalistes américains—réalistes européens, Paris: Centre National d’Art Contemporain, 1974 Jack Cowart, New Photo-Realism, Hartford, CT: Wadsworth Atheneum, 1974 William Gaines, Twelve American Painters, Richmond: Virginia Museum of Fine Arts, 1974 Kijken naar de Werkelijkheid, Rotterdam: Museum Boymans-van Beuningen, 1974 Susan Pear Meisel, Watercolors and Drawings: American Realists, New York: Louis K. Meisel Gallery, 1974 Salme Sarajas-Korte, Ars ‘74 Ateneum, Helsinki: Fine Arts

Academy of Finland, 1974 Leon Shulman, Three Realists: Close, Estes, Raffael, Worcester, MA: Worcester Art Museum, 1974 James A. Speyer, Seventy-first American Exhibition, Chicago: Art Institute, 1974 Twenty-five Years of Janis: Part II from Pollock to Pop, Op, and Sharp Focus Realism, New York: Sidney Janis Gallery, 1974 Frederic P. Walthard, Art 5 ’74, Basel: Art Internationale Kunstmesse, 1974 Charles Wyrick, Contemporary American Paintings from the Lewis Collection, Wilmington: Delaware Art Museum, 1974 1973 Lawrence Alloway, Amerikansk Realism, Malmö: Galleri Ostergren, 1973 Lawrence Alloway, Introduction to Photo-Realism, London: Serpentine Gallery, 1973 American Super Realism from the Morton G. Neumann Family Collection, Evanston: Terra Museum of American Art, 1973 Wolfgang Becker, Mit Kamera, Pinsel und Spritzpistole, Recklinghausen: Ruhrfestspiele Recklinghausen, Städtische Kunsthalle, 1973 Scott Burton, The Realist Revival, New York: Cultural Center, 1973 Combattimento per un’immagine, Turin: Galleria Civica d’Arte Moderna, 1973 Salvidor Dalí, Grands maitres hyper-réalistes américains, Paris: Galerie des Quatre Mouvements, 1973 Hogan Carroll Edwards, Hyper-réalistes américains, Paris: Galerie Arditti, 1973 Iperrealisti americani, Rome: Galleria La Medusa, 1973 Louis K. Meisel, Photo-Realism 1973: The Stuart M. Speiser Collection, New York: Louis K. Meisel Gallery, 1973 Realisti iperrealisti, Rome: Galleria La Medusa, 1973 Twenty-five Years of American Painting, Des Moines: Art Center, 1973 1972 Daniel Abadie, Hyperréalistes Américains, Paris: Galerie des Quatre Mouvements, 1972 Jean Christophe Amman, Documenta 5, Kassel: Neue Galerie and Museum Fridericianum, 1972 John J. Baratte and Paul E. Thompson, Phases of the New Realism, Coral Gables, FL: Lowe Art Museum, 1972 John I. H. Baur, Annual Exhibition, New York: Whitney Museum of American Art, 1972 Colossal Scale, New York: Sidney Janis Gallery, 1972 Uwe Schneede, Amerikanischer Fotorealismus, Stuttgart: Wurttembergischer Kunstverein, 1972 Sharp Focus Realism, New York: Sidney Janis Gallery, 1972 James A. Speyer, Seventieth American Exhibition, Chicago: Art Institute, 1972 1971 Art around the Automobile, Hempstead, NY: Emily Lowe Gallery, 1971 John I. H. Baur, Annual Exhibition, New York: Whitney Museum of American Art, 1971 Walter Hopps Thirty-second Biennial Exhibition of Contemporary American Painting, Washington, DC: Corcoran Gallery of Art, 1971 Ivan C. Karp, Radical Realism, Chicago: Museum of Contemporary Art, 1971

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1970

1969

1968 1967 1966

Evelyn Weiss, Art of the 1960s, Cologne: Wallraf-Richartz Museum, 1971 Directly Seen: New Realism in California, Balboa, CA: Newport Harbor Art Museum, 1970 Oriole Farb, Painting from the Photo, New York: Riverside Museum, 1970 James Monte, 22 Realists, New York: Whitney Museum of American Art, 1970 Denise Scott, The Highway, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1970 Richard L. Warrum, Painting and Sculpture Today, 1970, Indiana: Indianapolis Museum of Art, 1970 John Lloyd and Tracy Atkinson, Directions 2: Aspects of a New Realism, Milwaukee, WI: Art Center, 1969 Richard L. Warrum, Painting and Sculpture Today, 1969, Indiana: Indianapolis Museum of Art, 1969 Linda Nochlin, “The New Realists” in Realism Now, Poughkeepsie, NY: Vassar College Art Gallery, 1968 Biennial Exhibition of American Art, Champaign-Urbana, IL: Krannert Art Museum, 1967 American Watercolor Society Ninety-ninth Annual Exhibition, New York: National Academy Galleries, 1966

Institution, Washington, D.C. Indianapolis Museum of Art, Indiana Kemper Museum of Contemporary Art, Kansas City, Missouri Virginia Commonwealth University, Richmond Ludwig Museum, Budapest, Hungary The Metropolitan Museum of Art, New York Modern Art Museum of Fort Worth, Texas Museo Botero, Santafé de Bogotá, Colombia Museo Thyssen-Bornemisza, Madrid Museum Ludwig, Cologne, Germany Museum Moderner Kunst Stiftung Ludwig, Vienna Museum of Contemporary Art, Chicago Museum of Fine Arts, Boston The Museum of Modern Art, New York National Academy of Design, New York National Air and Space Museum, Smithsonian Institution, Washington, D.C. National Gallery of Art, Washington, D.C. National Gallery of Australia, Canberra The Nelson-Atkins Museum of Art, Kansas City, Missouri Neue Galerie der Stadt Aachen, Ludwig Collection, Aachen, Germany Norton Simon Museum of Art, Pasadena, California Philadelphia Museum of Art Portland Art Museum, Oregon Portland Museum of Art, Maine Princeton University Art Museum, New Jersey Queensland Art Gallery, Gallery of Modern Art, South Brisbane, Australia San Antonio Museum of Art, Texas San Francisco Museum of Modern Art Scheringa Museum voor Realisma, Spanbroek, Noord, The Netherlands Smith College Museum of Art, Northampton, Massachusetts Smithsonian American Art Museum, Washington, D.C. The Solomon R. Guggenheim Museum, New York Springfield Museum of Fine Arts, Springfield, Massachusetts Tate Gallery, London Tehran Museum of Contemporary Art, Iran Toledo Museum of Art, Ohio VandenBroek Foundation, The Netherlands Vero Beach Museum, Florida Virginia Museum of Fine Arts, Richmond Walker Art Center, Minneapolis, Minnesota Whitney Museum of American Art, New York Worcester Art Museum Collection, Massachusetts

Selected Public Collections Académie française, Paris Akron Art Museum, Ohio Albright-Knox Art Gallery, Buffalo, New York Art Institute of Chicago Art Museum of Southeast Texas, Beaumont Sydney and Walda Besthoff Foundation, New Orleans Boca Raton Museum of Art, Florida Brooklyn Museum of Art, New York Butler Institute of American Art, Youngstown, Ohio Colby College Museum of Art, Waterville, Maine Crystal Bridges Museum of American Art, Bentonville, Arkansas Currier Gallery of Art, Manchester, New Hampshire Des Moines Art Center, Iowa The Detroit Institute of Arts, Michigan Farnsworth Art Museum, Rockland, Maine Fine Arts Museums of San Francisco Flint Institute of Arts, Michigan Fort Wayne Museum of Art, Indiana Herbert F. Johnson Museum, Cornell University, Ithaca, New York High Museum of Art, Atlanta Hirshhorn Museum and Sculpture Garden, Smithsonian

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ADELSON GALLERIES 318 Worth Avenue Palm Beach, FL 33480 (561) 720-2079 info@adelsongalleries.com www.adelsongalleries.com