Artist's Statement

Tim in studio- frame bwFALL 2015

Short Bio (Full biography)

Timothy Jerome Chambers is a life-long artist, having grown up amidst the scents and beautiful paintings in his father’s studio. Exhibiting a passion for drawing from the start, he was trained by his dad (William Chambers) and later with other exemplary artists Cedric Egeli, Henry Hensche, and Richard Lack, each part of a great heritage of American master painters. Solid draftsmanship established him among the world’s best portraitists, and his foray into Impressionism with Henry Hensche sets his colorful landscapes and portraits apart from the crowd. Few artists are able to marry color and draftsmanship in such a passionate embrace. Tim believes that beyond talent, there are two main ingredients evident in a great work of art: skill of application and joy of vision. Convinced that one without the other leaves a canvas void of purpose and impact, Tim puts his heart, mind, and hands into his work. As an art juror said of Tim’s work: “This artist sees the world beautifully.

Artist’s Statement

“Recently, I was taken by surprise by something that I had assumed was universal: I thought everyone got inspired by the beauty around us. Every morning, when I see the play of light upon the land, the trees, buildings, I can’t help but smile and be inspired to respond. At those moments, looking past the rush of life and tyranny of the urgent, I am reminded that life is beautiful, rich with hope eternal.

Surprisingly, when I asked others if they felt the same way, I heard a flat “No, not really. I hadn’t noticed.” Answers reflecting a void, unaware they had missed a grand event. Life has a way of doing that- of getting us caught up in the routine, missing the glorious. I have begun to see that it is true what my art ancestors, such as Robert Henri and Charles Hawthorne, have noted- that it’s the artist’s task to show the world beauty, the remarkable in the mundane.

My mission is to add joy to peoples’ lives by seeing beautifully. And oftentimes, I too need to get out of the way in order to see and allow my heart to respond.


Paint is my primary tool of choice. I respond visually to just about everything. The more astute my observation, the more splendor I see. That is what I love about painting outdoors- the subtle nuances and variations in color are like a joyful song and dance, reflecting minute changes of hue, almost like if one could see the movement of air. One moment you see a light pink, another you see a pale blue. Pink and blue on the same spot? Yes. It’s a beautiful thing.

My father, William Chambers, an amazing painter, taught me to ask questions and seek truth, required training for an artist. The key in painting is knowing what to look for, what to ask. Sherlock Holmes understood: “You do not see, dear Watson, because you do not observe.” The good artist observes with a joyous, passionate heart, articulates with a sharp mind, executes with an experienced hand.

I hope my work and teaching help you to see beautifully.

Timothy Chambers



Re: Oil Portraits

Tim’s portraits convey the essence of his subjects. Not only is Tim an excellent draftsman, he takes the time to get to know his subjects, as we all know there is much more to a person than what’s on the surface. When viewing one of Tim’s portraits, the more you look at the portrait, the more you feel you know the person.

Dating back hundreds of years, oil is the traditional standard for portraiture. No other medium captures the richness and depth of a well-executed oil painting. Tim uses archival-quality materials
and time-tested methods in his work. Your portrait will last for many generations to enjoy.

“The portrait is gorgeous! I am blown away by it. It is really, really wonderful, and that is such an understatement.” -C. Saunders, Charleston, SC

“I just wanted to tell you how much I love the portrait. I just cried. It is definitely the best money we ever spent. To be able to capture that innocence forever makes letting Cayla and Joshua grow up a little less painful. I spent all weekend carrying a copy around in my purse and I could not stop peeking at it. I was just so moved by the energy and essence of the painting. It is like time stopped for one spring morning in May when our children were four years old. Tim, thank you.” Eileen S., S.C.

Re: Pastel Portraits

Tim Chambers believes a good painting is the culmination of keen observation, a joyful heart, and vibrant, confident execution. This is evident in Tim’s portraits. His pastel portraits combine
the richness of his oils, but have a delicateness and softness inherent of the pastel medium.

Tim approaches his pastel portraits just as he does oil portraits, both in approach and the integrity of the materials used. His pastels are framed similar to oils (no matting, only a traditional frame), the only difference being pastel is protected by an invisible, reflection-free glass (Tru-Vue AR Glass).

Some have asked if pastel is inferior to oil, or if it will last as long as oil. If you consider that oil paint is essentially pastel mixed with a liquid binder (such as linseed oil), you’ll see that pastel is actually a more pure medium than oil! In fact, when handled protected properly, pastels often retain their vibrancy much more than their oil counterparts, as seen in pastels by the French Impressionists. Tim uses only archival-quality, lightfast pastels and substrates for his paintings.

“Tim… thank you so much for Emilie’s and Colin’s portraits. I think they are amazing! You really captured their essence.” –Jenny

“Tim, The portrait looks great! I am thrilled. Someone came this morning to see Lucy’s portrait. She was extremely impressed. She said it was her favorite pastel she’d ever seen! Thanks so much!” -T.G., Raleigh, NC

Re: Charcoal Portraits

Charcoal is the oldest of drawing mediums, with charcoal portraits proudly hanging in museums throughout the world. “Charcoal is as close as you can get to painting without painting,” says Tim. It’s an amazing medium, lending itself to a very intuitive process. It has a wonderful range of values, and unlike pencil, is at home in the hands of a painter.

“I love how charcoal boils down the portrait its essence, similar to black-and-white photography. Nothing gets in the way of capturing my subject. There is a regality to its raw truth. Charcoal demands the artist's command of drawing."

Like his oils and pastels, Tim’s charcoals are archival-quality, and will last indefinitely with proper care.

“Tim, the portrait is INCREDIBLE. Thank you so much!!!! You really captured our parents.” -Bijan, Virginia

“The portraits of our children are STUNNING!!! I mean totally, completely stunning. WOW! We are so excited about these treasures. Thank you, thank you!” -Catherine G.

Re: Landscapes

"Landscape painting is dessert," says Tim. "It’s pure joy. No restraints, no one to please. Simply respond to the beauty of nature with heart and excitement; hold nothing back."

We all know that it’s more complicated than that. Tim tell's his students that “a good painting is a lot of good decisions.” His paintings’ beauty is a result of God-given talent refined by a lifetime of training and experience.

Tim aims for simplicity in his landscapes, to identify the essential elements. “You’re painting a moving moment. Can you see everything? No, but you do see something. What is it? What one thing sings to your soul here and now? Get that in your heart, in your head, and out through your hands onto the canvas.”

“Tim captured a Virginia evening on canvas for me, and I love the painting! The colors seem to glow.” -L. Paist, Purcellville, VA

Re: Still Lifes

Still-life paintings are like little portraits. I can arrange the elements any way I choose to convey a story. Sometimes the story comes first, and sometimes the players (the objects) make the story. I really enjoy the writing with paint.

The Fruit of the Spirit series is a great story. I read in the bible that the fruit of the Spirit are love, joy, peace, patience, kindness, goodness, faithfulness, meekness, and temperance. I’ve seen artists assign a different literal fruit (apple, banana, grapes, etc.) for each Spiritual fruit. But I wanted to see if I could take one fruit and put it in different settings to convey the meaning from Scripture. It has been a rewarding experience ruminating as I paint.

Winter months are ripe for still-life paintings, a respite from the chilling wind. Winter is also a time of reflection, and stiil-life painting is a wonderful medium to articulate those thoughts.

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“Think left and think right and think low and think high. Oh, the things you can think up if only you try!”

by Dr. Seuss

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