Palette Magazine #69 Sample

the New Palette #69

A MODERN APPROACH TO WATERCOLOR Antonio Masi, AWS, D.F., AWS President My original medium was oil, whose thick, viscous consistency might seem fitting for conveying the powerful presence of iconic bridges and structures I depict. I was unable, however, to achieve the effects I desired with that medium. In 2002, my wife Elizabeth Jorg Masi, (also a painter) suggested I try watercolor. This was the medium I was looking for, to convey the play of opposites, the rigid steel against the light atmosphere, the sense of motion and solidity. I haven’t looked back since.

Watercolor best conveys air and illuminations for me. It’s fluid, light, delicate and transparent, but I soon discovered (like Turner), that by adding a little body color, it becomes powerful.

It has a life of its own. It likes to flow, do unexpected things. It will be light and delicate one moment and strong the next.

For me it has Mass, Power and Delicacy.

To truly know your subject one must go and meet it when possible. I often go and visit the site where the subject is located. Size is very important to me in my paintings. My subjects are usually massive and to create a sense of

place, I feel a large painting (usually 60”x40”) best captures the feeling. Working large enables me to immerse myself completely. My whole body is now engaged in the act of painting; brush-strokes are bolder, colors flow more. The larger the paintings are the more direct and complex they become. The painting emerges as I slowly build layer upon layer of glazes, using a hake brush to apply. Then I paint on top of the glazes, following the painted layer with more glazes. There’s no set number of glazes (I’ve done as many as 49 on one painting). I let my intuition guide me. My greatest struggle as an artist is in keeping focus on my initial inspiration and not letting the painting become simply a rendering of the subject. I want to paint not as I see it, but as I feel it.

That said, my oil painting brushes have not gone to waste- I use them with watercolor. Watercolor brushes carry lots of water, they’re for fluidity, and oil painting brushes carry lots of paint, for strength and solidity. Every tool has a special mark and unique voice.

The Examination - Ellis Island Watercolor, 30”x 40” Immigrants had a total of 6 minutes to see if they were able to pass the health test before they were allowed to enter the country. If they failed, they were sent back to their country. In this painting a little girl is being examined by an army doctor. A sense of nervousness and an anxious mother looks on.

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the New Palette #69

Wille B. - Williamsburg NY Watercolor, 60” x 40” This painting grew out of a walk across the Williamsburg Bridge in Manhattan.

The diagonal steel girders created a sense of a Franz Kline painting—Strong, Bold and Powerful. I started with field sketches and taking photos to absorb the strong sense I felt.

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the New Palette #69

View of Hudson- Manhattan, NY - 40” x 60” This expansive view of the Empire State Building overlooking the Hudson River to New Jersey, and The Statue of Liberty and

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No Left Turn - Queens Exit off Queensboro Bridge, NY - Watercolor- 30” x 40” The idea behind this painting was to create a gradation of dark to light, large to small,

Ellis Island in the lower bay was a breathtaking view. The feeling of space was the objective, painting space was the challenge when you can’t see it, but it’s there.

heavy to light, thick to thin, focused to blurred and cool to warm colors starting from the top going to the bottom. Creating the illusion of a recession.

the New Palette #69

Lady Liberty - Watercolor, 84� x 44.5�

My co-author Joan Marians Dim and I have been, for the last two years, working on a commission from a publisher to do a book on the Statue of Liberty. It will be coming out in 2019. It is a tale filled with raw ambition, political intrigue and

ingenious artistry and engineering. The book will offer a concise, relevant and substantive understanding of the Statue. As the story unwinds readers learn how the Statue of Liberty became so much more than a monument.

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the New Palette #69

Golden Land Watercolor, 40” x 53” Ellis Island was the portal through which over 16 million people passed through.

This is the main building that the people had to go through and pass their physical and mental examinations before being allowed to enter. Its Great Hall is overwhelming in size, which awed the newly arrived immigrants.

Ponte Vecchio- Florence, Italy Watercolor, 40” x 60” This bridge dates back to 1218. During World War II it was the only bridge across the Arno River that the fleeing Germans did not destroy. My objective in this painting was to capture the old look and feeling of ‘the sense of time and place’ it has stood there.

City of Lights- Paris, France Watercolor, 30” x 40” This is the Pont Neuf across the river Seine in Paris, France. The point of this painting was to suggest the nickname of Paris, City of Lights, by focusing on the bridge as though it was the source of the emanating light. This was accomplished by multiple glazes in the shadows to create open and airy dark shadows.

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the New Palette #69

Tears of Joy - Tears of Fear Watercolor, 84� x 44.5�

Here, Lady Liberty is shedding tears of joy and sorrow for the many millions of people who passed under her gaze on their way to America.

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