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Timothy James Standring (b. 1950) has never stopped painting since he took classes at the School of the Art Institute of Chicago in the late 1960s. Over the past decade, he has focused on small-scale works in watercolor, paying gimlet-eyed attention to the poetics that the medium can express. Aspiring to sustain a balance between close observation and exuberant flourishes with his handling, Standring is as sensitive to his materials and techniques as he is to the recurring themes he paints. He has found inspiration in a wide variety of artists from John Linnell, Edgar Degas, John Singer Sargent, Joaquím Sorolla, and Andrew Wyeth.
His recent works reflect his preference for painting with the belly instead of the point of the brush. Resultant images appear as if they were produced as dry oil brush oils on unprepared paper like sheets produced by the works of the 17th century Genoese painter Giovanni Benedetto Castiglione (1609 – 1664), an artist that Standring has studied for some time.
Such heavily pigmented watercolors turn his compositions into poetic statements that sustain a life of their own. Moreover, they express meditative observations of his settings which are a challenge to such a fickle medium as watercolor. Standring has recently, in fact, been painting in oils, inspired by Daniel Sprick, Quang Ho, and Jane Jones, all of whom remarked that the two approaches complement each other.
Standring’s works are in private collections across North America and Europe. They have been thrice accepted for inclusion in the famous 10 x 10 x 10 juried exhibition held in Tieton, Washington, and recently in 2022 edition the Coors Western Art Exhibition. The national critic Ray Rainaldi reviewed one of Standring’s monographic exhibitions in the Denver Post; the artist’s works were also the subject of a recent article in Fine Art Connoisseur. Standring also conducts a watercolor painting workshop at the Lunenburg School of Art, Lunenburg, Nova Scotia in September.
