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 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.
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 hyperimpressionism (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.
Guadix - Granada