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Timothy McDowell received his BFA from Midwestern State University and his MFA from the University of Arizona. In 1981, he joined the Connecticut College as a professor of Studio Art, a position he still enjoys today.
Over the years, McDowell’s art has concentrated on several mediums. During the past twenty years, he has worked primarily in encaustic as well as oils; produced paintings, prints and works on paper. McDowell’s work has been exhibited nationally and internationally with representation here in the U.S. and Canada. Collections include The Metropolitan Museum of Art Print and Drawing collection, The University of Iowa Museum of Art, The New Mexico Museum of Art, the Tucson Museum of Art, Fidelity Investments, J.P. Morgan, A. G. Rosen Collection, The Benziger Family Winery Collection and others.
"Timothy McDowell is an artist who makes paintings filled with elegiac feeling. His imagery, taken from nature, emblemata, and decorative traditions of other cultures attains equilibrium through the even-handed use of these objects as icons of survival; there is a longing, even a melancholy, in his art that yearns for completion in a contemporary world quickly diminishing in terms of its natural expressiveness. This loss of habitat, both real and imaginative, is what concerns McDowell, whose quiet paintings refer to realities that gain their compelling edge by being intensely spiritual in nature; his idiosyncratic world and its aura of deliberate beauty take a certain chance in an art culture given increasingly to high-tech interventions and the political sublime. In consequence, it may be said that the artist’s view despite (or perhaps because of) his eclecticism seems acutely aware of the burgeoning decay of the natural world, which the act of painting does not so much redeem as recover from forces that encompass and threaten its existence. In his painting McDowell seeks a path that is joined to historical and multicultural awareness, an avenue of communication that is, at the same time, an attempt to rebuild a language of beauty even though the idiom is found more and more difficult to perceive or even to find." - Jonathan Goodman, 2006