a FAMILY LEGACY
In a brightly lit studio located just a few yards away from the old general
store in Philomont, fine portraiture artist Timothy J. Chambers studies a work-in-progress,
the image of a young girl he's created on canvas. Although the work is unfinished,
the painting and its subject already command attention. The child is peaceful
and content, her expression timeless and instantaneous.
Not surprisingly, Tim is an artist schooled in the tradition of the Masters. His works hang in homes, corporations and galleries throughout the United States and England. Perhaps more notably, the members of his close-knit family and the friends, mentors, and advisors he's gained throughout his life are never far from his thoughts.
Tim received his early art education from his father, William T. Chambers, a distinguished illustrator and portraitist. As a boy, Tim drew constantly and discovered he could draw virtually anything. School art classes were of little benefit because his father's instruction put Tim's skill level beyond that of most of his teachers. Still, a few instructors failed to recognize Tim's early artistic talent. When Tim turned in school assignments that required detailed illustrations, his instructors sometimes eyed the work suspiciously.
“We'd be given two or three weeks to complete an illustration, but I'd finish the drawing in a few days,” Tim says, shrugging his shoulders. “When I turned my work in early, the teachers always asked, 'Did you do this?' or, 'Is this your father's work?'”
Tim didn't seriously pursue painting until he was 18. Following years of personal an intensive instruction by his father, Tim studied at the University of Minnesota, the New York Academy and the Harris School of Art near Nashville. Just as the Masters trained, Tim continued to pursue his art education by studying for nearly 10 years with some of America's best painters.
| "Cedric [Egeli] taught me to paint not only what I see, but what i know" |
Among the many artists under which Tim studied, two played pivotal roles in
shaping his style and approach to fine portraiture: Henry Hensche and Cedric
B. Egeli.
Tim says Hensche, a renowned impressionist, was in his 80's when they met. Accompanied by his childhood friend Kevin Finnerty, Tim spent several summers studying with the artist.
“Henry called us 'those two innocent boys from Chicago,'” Tim says, laughing. “Even with all our education, we knew nothing.”
Today, Finnerty – who's been Tim's best friend since the third grade – is a successful Chicago artist.
Tim developed an affinity for the Washington area while studying and living with Egeli for two years at the artist's home in Annapolis. The experience, as Tim describes it, was reminiscent of the Japanese uchideshi, in which a live-in student works in exchange for absorbing the knowledge of the master.
When he wasn't painting, Tim was the “chore boy.” He laughs easily as he describes feeding Egeli's chickens and “handling whatever else needed to be done.” Then he glances at the unfinished portrait of the young girl in the studio and pauses as if shifting gears, his tone growing more serious and thoughtful. He says Egeli opened his eyes as an artist.
“Cedric taught me to paint not only what I see, but what I know,” Tim
says.
Egeli continues to provide ongoing instruction and critiques of Tim's work, and the two have remained close friends.
Throughout the years, one woman has remained Tim's biggest supporter: his wife, Kim. The couple has known each other since high school. Kim handles all the details involved in the business end of Tim's work, including the design and content of his website (www.timothychambers.com).
Tim and Kim have three children. Their oldest daughter, 20-year-old Lindsie, lives in Fairfax. Still at home are 8-year-old son Drew and 2-year-old daughter Chloe. Tim likes working from home, especially when the children are young, and says it replicates his own childhood. “My dad was self-employed, too,” Tim says. “I always knew he was at home, even though he was working. But he'd stop to play football with me and my friends in the neighborhood. My friends thought it was great.”
Observing Tim with his own children as they scamper into his studio to say hello suggests Tim's ability to put people at ease comes naturally. The skill is vital to capturing the essence of their personalities – whether the sitter is a young child, a teenager or an adult.
Although the majority of his portraits
are of individuals, Tim also works with groups. He travels constantly across
the country, since each sitting takes
place at the client's location. Before work begins, the client must decide
on a media – oil, pastel or charcoal – and the backdrop.
“Indoor portraiture offers control,” Tim says. Outdoor portraits are complicated because the light and colors come from every direction – and getting the colors right is crucial.”
Once the art is commissioned, Tim begins his work with an initial meeting, although its conduct is informal and relaxed, taking place at the client's home or the site of the portrait. Expectations for the portrait are discussed and decisions about approach are reached. Most important, Tim spends time getting to know the individual – or members of the group – whose image will be painted.
The actual portrait starts with a photo sitting. Tim shoots about 100 or more photographs. In addition, he makes sketches and takes notes, and he completes a color study, usually on the next day. Tim selects a group of photographs he feels are the best choices of pose and facial expressions for the portrait, and he submits these for client approval. Then, Tim returns to his Philomont studio and creates the painting. Once the portrait and any necessary adjustments are completed, Tim personally delivers the framed portrait to the client's home or office for a formal unveiling.
Within the next few months, Tim hopes to unveil another sort of creation – a new home being built down the road, next-door to his brother's new house. Tim and Kim have enjoyed the experience as prime contractors on the construction project.
Tim is looking forward to holding student workshops in his new studio. Considering the accolades the portraitist has received nationally and internationally, the classes are likely to fill quickly.
When asked about his awards, Tim says his selection as a finalist in the National Portrait Society's Portrait Competition in 1999 is a source of special pride. The winner of the Grand Prize that year was Tim's father.
To contact Tim, call 800-680-0958 or 540-338-8332, or email him at info@timothychambers.com