William Zorach is a well-known 20th-century sculptor who participated in the Armory Show of 1913 and whose work is held in numerous public collections. But as his career unfolded and he found his way as a sculptor, watercolor paintingwas always part of his practice.
“I have continued to paint watercolors all my life,” Zorach wrote in his 1967 autobiography, Art Is My Life. “Their spontaneity gives me a certain release and satisfies my love of color. After all, painting was my training and my world for all my early years, and I will always see the world in color as well as form. … All art is correlated; all stems from the great creative impulse. There is no reason why sculptors shouldn’t paint and painters sculpt.”
Zorach’s watercolor paintings bear no resemblance to his sculptural subject matter or style. Instead, the paintings allowed him to explore an entirely separate avenue of expression. During the summer the artist spent in Yosemite National Park, in California, the cliffs and peaks of the Sierra Nevada mountains were his subject matter, and his watercolor art show how just a few strokes of paint on paper can create a sense of atmosphere and place.
The painting Half Dome, Yosemite, for example, comes together in what looks to be less than a few dozen strokes. There’s a spontaneous sense of movement and a seeming understanding that the pigment itself can do a lot without much fussing and force from the artist’s brush. The bright yellow that glints off the edges of the mountains gives a sense of the sun hitting the form, but it doesn’t appear everywhere the sun would reflect. By applying the pigment in just a few places, the artist creates more impact and infuses the painting with warmth and shine.
he darkest shadow in the center of the painting—created using what looks like a drybrush technique—establishes the mass of the form and gives a sense of texture and depth. That, plus the blots and washes of purple and dusky pink, give an indication of the mountains’ profile in a way that seems loose and free, a celebration of the moment, much as the artist intended.
“I spent five months in the Yosemite Valley sketching, drawing, painting, and doing watercolors,” wrote Zorach. “Every now and then in life we have an experience that moves us so deeply, that holds us with such sheer, transcendent beauty, that it takes us completely out of this world. It is this feeling that only an artist can convey in his art. It is a journey into infinity.”
The artist likened water colour painting to writing poetry because there is fluidity and looseness that comes when artists allow the medium to guide them as opposed to steering it along at every step in a composition. To better understand the movement and freedom of water colours, and to see how masters explore this medium both in and of itself and as a gateway to work with other tools and materials, Water colour Masters and Legends is available and full of resources that practicing artists will be immediately inspired by and definitely shouldn’t do without.