Hyperimpressionism vs Hyperrealism
In Hyperrealism there are no discernible traces of brush strokes and the artist seems to be absent. The works are painted with a thin coat of paint, applied sometimes with different mechanical tools to brushes and even are scraped to avoid relief or traces of manufacture.
In the Hyperrealism it is sought the accuracy of details, while in Hyperimpressionism the use of the details is an approximation to reality, necessary to make a convincing scene. As hyperrealism or Fotorealism, Hyperimpressionism uses photography as a source and media, although for the first ones is also the aim, or what is the same, Hyperrealism photograph reality through pictorial resources, faithfully reproduce photographs to make the painting totally look like a photograph, and Hyperimpressionism, however, look at in the fusion of colors and forms an approximate reality, nearby, but never exact.
Hyperimpressionism vs Impressionism
Hyperimpressionism cultivates so many common aspects with Impressionism that you could say that is an extension of this style.
The two styles converge, roughly, in trying to capture the light and the moment, that is to say, they paint the over the shapes that underlie this.
If blurred and vaporous and faded surfaces is exclusive of Impressionism, Hyperimpressionism generally defined very well forms and figures, or with the contrast between lights and shadows, or the contrast between colors or with both.
If Impressionism is characterized by the use of pure or saturated colors, mainly oil, thanks to the creation of new pigments in the second half of the nineteenth century, in Hyperimpressionism goes a little further in this aspect and the colors are even more vibrant and brilliant greatly enhanced by the use of products from industrial sources such as enamels or acrylics.
As for the technique both styles share its fundaments in the Gestalt theory, which, even being this postulation subsequent to Impressionism agree on the intention to plastically show that if certain conditions occur, unconnected parts result in a unitary whole, or what is the same, isolated brushstrokes that do not obey the local color or shape of the model being perceived by the viewer globally result in a fully defined.
Who is behind
My name is Sócrates Rízquez and I admit that to all the artist we like to speak about "our own style". It seems that feeds us our ego when we label our style in an academic way, with own name, unique and different name from other colleagues. All we think that we have invented something new and personal, recognizing many influences as necessary but wanting to leave our own "mark" in the history of Art.
And this could be my case, but even painting "my way" I am fully aware that worldwide there are, and there have been more artists whose painting style matches with this brand new style that I do not intend to establish, but naming. And it is that this group of distinguishing characteristics that we share when creating don't have, to date, a name that defines it independently of already known and studied styles, even receiving influences of some of them.
Personally I conceived the term Hyper-impressionism (Hiperimpresionismo in Spanish) as a result of studying conscientiously my own work and also the origins, foundations and influences that lead me to paint the way I do.
The first conclusion we have reached is that the unique technique I use in my work is what has led, not without some evolution, in this style. I use to paint a quite unprecedented medium in Fine Arts, and even less with this level of success in the results. This medium is the synthetic enamel and using it in the realistic paintings results, in technical terms, in results that resemble Impressionist painting. The fast drying (almost immediately) does not provide anything the dithering or mixture of tones and colors in the painting, giving as resulting rapid strokes but intended and deliberated, but with that Impressionist air with precision in the brushstroke in order to get the moment and reflect as faithfully as possible and actual scene.
Just a little bit of wisdom
Photo-realistic painting is to impressionism what a ballroom waltz is to Argentine tango. Once you've done tango, the waltz seems stilted, controlled and oh so dull. Give me the passion, the sexiness and the bravura of the tango, thank you very much.
The light constantly changes, and that alters the atmosphere and beauty of things every minute.
It is not enough to know your craft, you have to have feeling. Science is all very well, but for us imagination is worth far more.
Conversation in real life is full of half-finished sentences and overlapping talk. Why shouldn't painting be too?
A person with normal eyesight would have nothing to know in the way of 'Impressionism' unless he were in a blinding light or in the dusk or dark.
John Singer Sargent
What I am after is the first impression, I want to show all one sees on first entering the room, what my eye takes in at first glance.
To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them.
Every new painting is like throwing myself into the water without knowing how to swim.
No, mes amis, impressionism is not charlatanry, nor a formula, nor a school. I should say rather it is the bold resolve to throw all those things overboard.
It took some time before the public learned that to appreciate an Impressionist painting one has to step back a few yards, and enjoy the miracle of seeing these puzzling patches suddenly fall into one place and come to life before our eyes.
I had wrung impressionism dry and I finally came to the conclusion that I know neither how to paint nor how to draw.
If I'm lucky, when I paint, first my patrons leave the room, then my dealers, and if I'm really lucky I leave too.
Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.
True realism consists in revealing the surprising things which habit keeps covered and prevents us from seeing.
Impressionism came about because it suddenly became apparent that pure colours mix in the eye in a more dazzling way than they have ever been mixed in paint.
Hyper-impressionism can be defined as the merger of two very different worlds such as impressionism and hyperrealism.
From Impressionism inherits flee from a overdressed performance and "resign" with a certain general appearance.
The brushstrokes are quick and not overly thoughtful, consistent with the fleeting moment that represents and communicates.
Short strokes are sensed but not clearly perceived as spot color, it is a spontaneous feeling with the clear intention of expressing light and color.
The broken brushstrokes in primary colors have to compose themself on the viewer's retina.
Because the goal of a hyperrealist is to capture the moment, hyper-impresionim maintains the use of photographs and similar as models and search for a result as realistic as possible.
Everything is clear and transparent, no conceptual obstacle stands between artist and viewer in the interpretation of the final scene.
One of the objectives of the hyper-impressionistic artist is to leave evidence of his brushstrokes, he does not hide the action of his hand in the painting.