DEFINITION
Why Hyper-impressionism?
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.
INITIATIVE
Who is behind
Hyper-impressionism?
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.
CONTACT INFO
Guadix, Granada - ANDALUSIA
SPAIN
infosocrates.gallery
+34 620 753 646
www.Socrates.Gallery
Smart Quotes
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.
Brenda Behr
The light constantly changes, and that alters the atmosphere and beauty of things every minute.
Claude Monet
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.
Edouard Manet
Conversation in real life is full of half-finished sentences and overlapping talk. Why shouldn't painting be too?
Edgar Degas
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.
Pierre Bonnard
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.
Pierre-Auguste Renoir
Every new painting is like throwing myself into the water without knowing how to swim.
Edouard Manet
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.
Joaquin Sorolla
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.
Ernst Gombrich
I had wrung impressionism dry and I finally came to the conclusion that I know neither how to paint nor how to draw.
Pierre-Auguste Renoir
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.
Edouard Manet
Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.
Salman Rushdie
True realism consists in revealing the surprising things which habit keeps covered and prevents us from seeing.
Jean Cocteau
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.
Joseph Plaskett
Synthesis of Movements:
Hyperimpressionism represents an innovative synthesis of two historical movements: Impressionism, known for its focus on capturing fleeting light and atmosphere, and Hyperrealism, which seeks detailed and precise representation of reality. Although both styles differ in their technical approach, they share a commitment to authentic representation of the human experience.
Dual Visual Experience:
A distinctive feature of Hyperimpressionism is its ability to generate a dual experience in the observation of the artwork. From a certain distance, the painting may be perceived as a perfect and almost photographic scene, but upon closer inspection, the spontaneous and defined strokes that compose the work are revealed, exposing the artist's hand and creative process, inviting the viewer to a more intimate exploration.
Light and Vibrant Colors:
Hyperimpressionism is distinguished by its bold and vibrant use of the color palette. Intensified and saturated colors are used to express emotions and create dynamic compositions that capture the viewer's attention and stimulate their senses. A luminosity is sought that accentuates the atmosphere of the scene, offering an immersive visual experience.
Spontaneous and Precise Brushstrokes:
Hyperimpressionist artists employ gestural and sometimes bold brushstrokes, combining the spontaneity of the gesture with the precision of the stroke. This unique technique allows capturing the essence of the moment and conveying a sense of vitality, movement, and dynamic tension in the work.
Exploration of Perception:
Hyperimpressionism seeks to explore and reinterpret reality from various perceptual perspectives. Through the composition of everyday scenes and the capture of the perfect moment, artists seek to challenge visual conventions and expand understanding of the world around us. Hyperimpressionism captures the ephemeral essence of everyday moments, a direct inheritance from Impressionism.
Commitment to Inner Beauty:
In Hyperimpressionism, the pursuit of beauty and truth within reality is celebrated, even when it may be hidden or overlooked. Artists seek to reveal the depth and complexity of the human experience through their work, leading the viewer to a deeper contemplation.
Atmosphere and Perspective:
Hyperimpressionist paintings are imbued with a unique atmosphere, achieved through careful representation of perspective and depth. This attention to detail contributes to the viewer's sense of immersion in the represented scene.
Recognized Influences:
Hyperimpressionism is a movement built on the foundations of Impressionism and Hyperrealism, but it also draws from a wide range of artistic influences ranging from Post-Impressionism to Expressionism. This combination of influences results in a distinctive pictorial style that seeks to reinterpret reality in an emotional, subjective, and vibrant way.
Celebration of Stylistic Diversity:
Within Hyperimpressionism, the diversity of styles, perspectives, and artistic approaches is celebrated. Each artist brings their unique voice to the movement, enriching collective expression and expanding the boundaries of what is possible in visual art.
Historical and Social Context:
The emergence of Hyperimpressionism is contextualized in a moment characterized by a saturation of abstract, conceptual, experimental expressions, and artificial interventions, thus arising the need to reaffirm the importance of reality in art. In a world marked by the rapid pace of change and the complexity of the human experience, the movement seeks to offer an authentic and meaningful reflection on our shared reality. Ultimately, it seeks a reconnection with the tangible and the concrete that revalues the everyday and the mundane.