William Dring (1904-1990)
William Dring was a prominent British portraitist and war artist, celebrated for his refined draughtsmanship, subtle use of colour, and insightful character studies. Born in Streatham, London, Dring developed an early interest in the visual arts, which led him to study at the Slade School of Fine Art, one of the most prestigious art institutions in the UK. Under the guidance of the influential professor Henry Tonks (1862-1937), Dring honed his technical skills and developed a distinctive style that would define his career.
Following his graduation, Dring initially made a name for himself as a muralist and illustrator, taking on a variety of commissions throughout the 1920s and 1930s. His early work included contributions to decorative schemes in public and private buildings, often in collaboration with other artists.
Dring’s career took a significant turn during the Second World War. He was appointed an official war artist by the War Artists' Advisory Committee (WAAC), under the direction of Kenneth Clark. In this role, Dring produced a series of compelling portraits and scenes that documented the human dimension of the war, particularly focusing on the Royal Navy and the Women's Auxiliary Air Force (WAAF). His work during this period is notable for its immediacy and emotional depth, and many of these pieces are now held in the Imperial War Museum and other national collections.
Dring was married to artist Grace Dring, and they had one daughter, Melissa Dring (b. 1944), who also became an artist and forensic facial reconstruction specialist. After the war, he became increasingly well-known for his portraiture, painting many distinguished figures from British society. His sitters included royalty, politicians, military leaders, and academics. He was adept at capturing both likeness and personality, employing a painterly yet precise approach that emphasized natural light and texture. He was equally adept with watercolour studies of bucolic scenes. He was elected a member of several major artistic institutions including the Royal Academy (RA) (Associate in 1944, full Academician in 1955) and the Royal Watercolour Society (RWS). Throughout the 1950s to 1970s, Dring’s work remained in demand, and he continued to teach and exhibit widely.
William Dring, Thatched cottage in wooded landscape, Watercolour (32 × 45cm), framed mounted and glazed (58 × 68cm). Signed.
His artistic style is characterised by technical precision, sensitivity to his subjects, and a refined use of both oil and watercolour media. Rooted in classical training, Dring’s art represents a bridge between academic traditions and the evolving sensibilities of 20th-century Britain. His style can be described as figurative realism, with a focus on naturalistic representation. He had a distinctive command of form and proportion, and his portraits in particular show a careful observation of facial structure, expression, and posture. Though clearly rooted in academic realism, his work avoids stiffness, instead conveying subtle emotional depth.
Underpinning his paintings is the delicate yet precise draftsmanship that came from his training under Henry Tonks at the Slade School. His subtle use of light and colour is especially visible in his pastels and watercolours, where he achieved a softness that enhanced the psychological presence of his subjects. His compositions are well balanced, with attention given to negative space and he executed his paintings with an experienced economy of brushwork. Dring was known for his technical proficiency in watercolour, a medium he handled with unusual depth and control.
Dring’s influences were primarily academic and classical, though he was also responsive to contemporary developments in twentieth-century British art. The Slade School tradition emphasised rigorous anatomical accuracy and observational discipline. This foundation remained central throughout his career. Artists such as Sir Joshua Reynolds (1723-92) and Thomas Gainsborough (1727-88) likely shaped his understanding of character and form in terms of portraiture. While Dring was not an overt modernist, he was aware of the work of contemporaries like Sir William Orpen (1878-1931), Augustus John (1878-1961), and Sir Stanley Spencer (1891-1959); figures who bridged academic rigor with a more expressive or psychological approach.
Dring’s commitment to figurative art at a time when abstraction was increasingly dominant helped preserve and refine British painting traditions. His legacy endures in institutions like the Royal Academy, the National Portrait Gallery, the Royal Collection, and the Imperial War Museum, where his works continue to offer a compelling view of British identity and character across several decades. Though not a household name, Dring’s contributions are increasingly recognized for their technical excellence and quiet emotional power.
William Dring, Thatched cottage in wooded landscape, Watercolour (32 × 45cm), framed mounted and glazed (58 × 68cm). Signed.