Yepes' depictions of flower vases, fruits (particularly grapes), and everyday objects were prominent in the region during the 17th and 18th century, and he has been regarded as one of the major rediscoveries of art history.

[16] On 4 December 1633, he signed a deal worth 13 pounds and 10 wages with the merchant Juan Ruiz for a supply of fabric and cloth to be used for his paintings.

[14] William B. Jordan points to gaps in the timeline and life of Yepes; although he was active by the second decade of the 17th century, most of the works attributed to him come after 1642.

[25] His application of chiaroscuro and tenebrism, and compositional approach of contrast, detail and deep colour belong to the Spanish Baroque style of painting.

[23][27] Yepes is primarily noted for depicting flowers, fruits, and everyday objects on tables and against landscapes,[25] and a lot of his paintings shared distinctive elements: flowers in ornate vases or ceramic pots, fruits in glossy or porcelain bowls (sometimes with landscapes drawn on them), and plain or decorative tablecloths (sometimes with lace).

Both employed symmetry of compositions, dark lighting, and highlighted the quality of objects by underlining their contours and applying multiple glazes.

[32] His later works diverged from Hamen's style in that he introduced more variety of motifs, such as Manises ceramics in flower pots, Delft porcelain vases, rich branchy rugs, and landscapes.

[3][35] Yepes also painted in vanitas genre; in Vanitas (17th-century), an artistic representation of fatalism, he arranged a skull and a femur with a book, an hourglass, a bouquet of flowers and a crucifix, on a plinth with inscriptions of I Corinthians 15:22 — Et sicut in Adam omnes moriuntur ita et in Christo omnes vivificabuntur (For as in Adam all die, so in Christ all will be made alive).

[39] Motifs of Levantine art can be observed in Still Life (1668) with his depiction of oranges and lemons in a basket suspended in a corner, a roast bird and empanada.

[42] An allegorical painting by Yepes is Allegory of the Senses (c. 1650), in which sound is represented by a guitar, smell by flowers, taste by a soup bowl, sight by a document, and touch by jewelry.

[41][20] The Fondation Raus pour le Tiers-Monde, Zurich, has two farmyard scenes: Turkey, Partridge and Pigeon on a Terrace (1649) and Rooster, Hen and Chicks (1649).

[50] A signed still life by Bernardo Polo of Aragon was discovered in 2009, which according to Jordan is nearly identical in its facture and composition to the paintings of Pseudo-Hiepes.

[23] Spanish writer Marco Antonio Ortí in his 1655 book wrote that Yepes had "acquired a very unique opinion and credit" in the kingdom.

[11][19] Jordan assessed that Yepes' "works are brimming with an irresistible provincial charm and a delightful inventiveness suggestive of the sybaritic life of this prosperous Mediterranean seaport".

[52][53] Spanish art historians Alfonso E. Pérez Sánchez [es] and Benito Navarrete Prieto organized a monographic exhibition of Yepes' works at the Centre Cultural Bancaixa, Valencia, in 1995.

The catalogue included archival research performed by Prieto which contributed to the existing knowledge of Yepes' life and works.

This exhibition demonstrated that not only is Yepes one of the most skilled and exquisite of painters, but maintained the interest of his patrons and collectors with his expertise in flower painting and a range of different still-life types.