New York No. 11

Enamels on panel
120 x 80cm
Year of creation:

About artist


Sócrates Rízquez was born in Málaga in 1966 and thanks to the fact that his father is a great amateur and student of painting, he took his brushes from a very young age.

During the 80s he explored surrealism using a variety of techniques. At the end of that decade he accidentally discovered the synthetic enamel painting and developed new techniques to create artworks using this medium which is traditionally used for other less artistic purposes.

During those years he discovered and got into PopArt, developed works for posters and advertising. He adopted the enamel as the only medium of expression and, excited by the brilliance in the colours that this type of painting contributes, he used it for numerous and different projects. He made frequent visits to European museums to study painting directly from the paintings, especially the Impressionist masters, and more regularly at the D'Orsay Museum in Paris, the cradle of his inspiration.

An intensive and self-taught Impressionist, he approaches the hyperrealist style with curiosity and the desire to learn from the most outstanding artists such as Richard Estes, whose exhibitions have served him as a form of inspiration.

This conscientious study of the impressionist masters and the absorbing contemplation of the most relevant hyperrealist works have led him to perform works with a very personal style, always focused on obtaining a scene of tremendously realistic effect with techniques and handling from the impressionism. The result of this pictorial fusion is a new style that the artist called "Hyperimpressionism".

Since 2014 he has been making a series of enamels about New York faithful to the evolved style product of his research using panoramic formats in its two orientations.

His works require two very different moments of viewing, the first seeks that the impression of the viewer entering the room is to contemplate a photograph, then the observer spontaneously approaching discovering the true structure of brazen and seemingly neglected brushstrokes that they make up the scene. These two sensations are what the author called "Hyperimpressionism.”

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