本篇論文從藝術史上城市風景繪畫與寫實主義的脈絡出發，探討伊斯特司六○年代到八○年代的紐約城市風景繪畫，以及其作品在形式與內容的意涵。

伊斯特司被藝術評論家歸類為照相寫實主義藝術家，可是他卻認為自己只是個使用相機鏡頭來輔助作畫的寫實主義藝術家；本文從照相寫實主義與二十世紀寫實主義的發展，分析伊斯特司作品中所展露出來的二十世紀美國寫實藝術特性。再者，本文也將伊斯特司置放在城市風景藝術史的發展脈絡中，以圖像學的研究方法來探討伊斯特司的城市風景作品，為伊斯特司在城市風景藝術史中找尋其定位。

最後，本文也以藝術心理學與藝術社會學來探討伊斯特司作品中引人注意的櫥窗景觀，討論多重空間與影像交錯的畫面所蘊藏的形式與內容意涵，除了以藝術史上的「窗戶」概念來分析伊斯特司作品中的櫥窗，也帶入美國二十世紀下半葉的社會經濟與文化發展，希冀從社會與文化發展中瞭解伊斯特司創作時的現實背景，進而探討其紐約城市風景作品中的城市街道與玻璃櫥窗所象徵的時代特性。

(一) 伊斯特司專書

Arthur, John, Richard Estes: Paintings & Prints, California: Pomegranate Artbooks, 1993.
Canaday, John, Richard Estes: The Urban Landscape, Boston: Museum of fine arts, 1981.
Meisel, Louis K., Richard Estes : the complete paintings, 1966-1985, New York : Abrams, 1986.

(二) 其他相關書目
1. 英文專書
Arthur, John, Realism/Photorealism, Tulsa: Philbrook Art Center, 1980.
Baigell, Matthew, A concise history of American painting and sculpture, New York: Harper & Row, 1984.
______, Artist and Identity in Twentieth-Century America. Cambridge: Cambridge University Press, 2001.
Battcock, Battcock ed., Super Realism: A Critical Anthology, New York: Dutton, 1975.
Baudelaire, Charles, The Painter of Modern Life and Other Essays, Oxford: Phaidon. 1995.
Beauregard, Robert A., Voices of Decline: The Postwar Fate of US Cities, Oxford: Blackwell, 1993.
Beckett, Sister Wendy, The story of painting, New York: Dorling Kindersley, 1994.
Broder, Patricia Janis, The American West: The Modern Vision, Boston: Little, Brown and Company, 1984.
Brown, Milton Wolf etc., American art : painting, sculpture, architecture, decorative arts, photography, New York : Abrams, 1979.
Chipp, Herschel B. ed., Theories of Modern Art: A Source by Artists and Critics, Berkeley: University of California, 1968.
Delebanty, Suzanne, The Window in Twentieth-Century Art, New York: Neuberger Museum, State University of New York at Purchase, 1986.
Goodyear, Jr. Frank H., Contemporary American Realism Since 1960, Canada: New York Graphic Society books, 1984.
Hauser, Katherine Jane, Something Happened: A Cultural History of Photorealism, Doctoral dissertation, University of California, 1996.
Hopkins, David, After Modern Art 1945-2000, New York: Oxford Univ.,2000.
Jill Dunkerton, Susan Foister, Dillian Gordon, Nicholas Penny, GIOTTO TO DRER-Early Renaissance Painting in The National Gallery, New Haven and London: Yale University, 1991.
Johnson, Ellen H. ed., American Artists on Art from 1940 to 1980, New York: Harper & Row publishers, 1982.
Koolhaas, Rem, Delirious New York, A Retroactive Manifesto for Manhattan, New York: The Monacelli, 1994.
Lankevich, George J., American Metropolis: A History of New York City, New York: New York University, 1998.
Leach, William, Land of Desire: Merchants, Power, and the Rise of a New American Culture, New York: Pantheon Books, 1993.
Lindey, Christine, Superrealist Painting and Sculpture, New York: William Morrow, 1980.
Lucie-Smith, Edward, Art now : from abstract expressionism to superrealism, New York : Morrow, 1977.
__________, American art now, Oxford: Phaidon, 1985.
__________, American realism, London : Thames and Hudson ; New York : Abrams, 1994.
__________, Movement In Art Since 1945, New York: Thames & Hudson, 2001.
Mandel, Ernest, Late Capitalism, London: Verso, 1978.
Meisel, Louis K., Photorealism, New York: Abradale press, 1972.
Pohl, Frances K., Framing America : a social history of American art, London: Thames & Hudson, 2002.
Prendeville, Brendan, Realism in 20th Century Painting, London: Thames & Hudson, 2000.
Rose, Barbara, American Art Since 1900, rev. ed., New York: Holt, Rinehart and Winston, 1975.
Social Lash, Jonathan Friedman, eds., Modernity and Identity, Oxford: Blackwell, 1992.
Stich, Stich, Made in U.S.A.--An Americanization in modern art. The ‘50s & ‘60s, Berkeley : University Art Museum, University of California, Berkeley : University of California Press,1987.
Taylor, Joshua C., The Fine Arts In America, Chicago and London: Chicago Univ.,1979.
Wallock, Leonard, New York Culture Capital of The World 1940-1965, New York : Rizzoli, 1988.
Williamson, Judith, Consuming Passions: The Dynamics of Popular Culture, London: Marion Boyars, 1986.
Willis, Susan, A Prime for Daily Life, London: Routledge, 1991.

2. 中文專書
Alexander, Jeffrey C. ed., 鄧正來譯，《國家與市民社會：一種社會理論的研究路徑》(State and Civil Society)(北京市：中央編譯出版社，1999)。
Benjamin, Walter著，張旭東、魏文生譯，《發達資本主義時代的抒情詩人，論波特萊爾》(台北：臉譜，2002)。
Bocock, Robert著，張君玫、黃鵬仁譯，《消費》(Consumption)(台北：巨流，1996)。
Crane, Diana, 張心龍譯，《前衛藝術的轉型》(The Transformation of The Avant-Garde)(台北：遠流，1996)。
Fiske, John, 楊全強譯，《解讀大眾文化》(南京：南京大學，2001)。
Frampton, Kenneth著，蔡毓芬譯，《現代建築史》，台北：地景，2000年。
Harrison, Charles etc. ed., 崔誠、米永亮等人譯，《現代主義，評論，現實主義》(Modernism, Criticism, Realis)(上海：上海人民美術出版社，1991)。
Melchior-Bonnet, Sabine, 余淑娟譯，《鏡子》(Histoire du Miroir)( 台北：藍鯨出版， 城邦文化發行，2002)。
Nochlin, Linda, 刁筱華譯，《寫實主義》(Realism)(台北：遠流，1998)。
Simmel, George, 費勇譯，《時尚的哲學》(The philosophy of fashion)(北京：文化藝術，2001)。
Taylor, Paul, 徐洵蔚、鄭湛譯，《後普普藝術》(Post-Pop Art)(台北：遠流，1996)。
(三) 期刊文章

Amy Goldin and Roberta Smith, “ Present Tense: New Art and New York Museum,”in Art in America, September-October 1977, pp.92-104.
Bordewich, Fergus, “ The Future of New York: A Tale of Two Cities,” in New York, July 1979, p.32-40.
Chase, Linda, “ Photo Realism: post-modernist illusionism,” in Art International, 20, March-April 1976.
Eitner, Lorenz, “ The Open Window and the Storm Tossed Boat,” in Art Bulletin, 37, December 1955, pp.281-290.
Goodyear, Jr. Frank H., “ Contemporary Realism: The Challenge of Definition,” in American Art Review, vol.4, no.6, November 1978.
Greenberg, Clement, “Modernist Painting,” in Gregory Battcock, ed., The New Art: A Critical Anthology, New York: E. P. Dutton and Co., 1996.
Harrison, Helen, “ Richard Estes’s Silk-Screen Interpretations of Cityscape,” in New York Times, 11 October 1992.
Hurwitz, Laurie S., “Richard Estes: Illusion and Reality,” in American Artist, vol.55, December 1991, pp. 28-35.
Kuspit, Donald B., “ What’s Real in Realism,” in Art in America, September 1981, pp.84-95.
Laderman, Gabriel, “ Unconventional Realists, ” in Artforum, vol.6, no.3, November 1967, pp.42-46.
Lawrence, Alloway, “ Notes on Realism,” in Art Magazine, vol.44, no.6, April 1970, pp.26-27.
Leider, Philip, “Vermeer & Hopper,” in Art in America, March 2001, pp. 96-107.
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Mandel, Ernest, The Second Slump: A Marxist Analysis of Recession in the Seventies, London: NLB, 1978.
Nochlin, Linda, “ The Realist Criminal and the Abstract Law,” in Art in America, vol.61, no.5, September-October 1973, pp.54-61.
__________, “ Return to Order,” in Art in America, September 1981, pp.75-83.
Seitz, William, “ The Real and The Artificial: Painting of the New Environment, ” in Art in America, November-December 1972, pp.58-71.
Suzuki, Tad, “Reflection light on photo realism,”in American artist, March 2002, pp. 46-51.
Tillim, Sidney, “ A Variety of Realism,” in Artforum, vol.7, no.10, Summer 1969, pp.42-48.
王受之，〈新寫實主義的發展和概況〉，《藝術家》，卷47，第5期，1998年11月，頁423-439。
呂理尚，〈「超」寫實的世界〉，《藝術家》，卷37，1978年6月，頁76-83。
林志明，〈試論十九世紀後期法國城市風景繪畫〉，《歷史文物》，第6卷，第6期，1996年12月，頁39-64。
郭藤輝，〈寫實的據有—新寫實主義的潮流〉，《國立歷史博物館學報》，11期，1998年12月，頁117-153。