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Peter Doig Artworks

Scottish Painter

Peter Doig Photo
Movement: Magic Realism

Born: April 17, 1959 - Edinburgh, Scotland

Artworks by Peter Doig

The below artworks are the most important by Peter Doig - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Milky Way (1989-90)

In this mesmerizing canvas, pinpoint stars share a black and blue skyscape featuring a cloudy Milky Way. From the horizon a stretch of trees grows, glowing alien and coral-like, waving into the air as if in water. They are reflected beneath on a still black lake in which floats a lone girl in a canoe, her tiny body enhancing the painting's sense of scale.

The dreamlike work references Vincent van Gogh's Starry Night, produced a century before as an hallucinogenic, emotive, portrayal of van Gogh's view from the window of his room at the Saint-Paul-de-Mausole lunatic asylum. The piece also references a number of 21st Century elements, with its echoes of current literature and film combined with the artist's own experience and imagination, as is his signature style. Doig said: "The tree line is a mixture of what I could see from my working space in my parent's barn and other sketches I made of northern-looking pines and dying trees. The idea was the trees were illuminated by city light or artificial light from afar - I had just read Don Delillo's White Noise (1985) that influenced the light in these paintings as well." The girl slumped in the canoe references the final scene of Sean S. Cunningham's 1980 horror movie Friday the 13th in which an exhausted young female protagonist boards and then falls asleep in a canoe on an otherwise huge empty lake. The eery canoe in this would mark the entrance of a motif that would appear again and again throughout his work.

This mode of combining reality, memories, fictions, and images from film and photography became Doig's trademark style and marks a bold integration of postmodern pastiche and collage sensibilities with traditional painting and historical reference points.

Charley's Space (1991)

On a snow-capped hill sits a large wooden house. Its roof is dusted with snow and there are dark forests in the background. On the right of the canvas a figure, which is cut off in the middle by the painting's edge. The bottom two thirds of the canvas are filled with a snowy, sometimes colorful, landscape. This work is rich in colors, textures and full of visual interest, but it is also obscure and hard to read. Much of the composition is overlaid with a large, floating orb.

This piece was begun during Doig's final year at Chelsea School of Art and would come to represent the beginning of the snow scene motif that would dominate much of his art.

Katharine Arnold of London auction house, Christie's, said: "In taking up archetypal images of Canada's landscape, Doig sought to distance himself from its specifics. These were not paintings of Canada in a literal sense, but rather explorations of the process of memory. For Doig, snow was not simply a souvenir of his childhood, but a conceptual device that could simulate the way our memories may be transformed and distorted over time." "Snow draws you inwards," Doig once said, which is why he so often used it as a device in his work, encouraging viewers to enter into his own remembered and filmic landscapes.

The circle in the middle of the piece is a visual reference to the opening scene of Orson Welles' Citizen Kane (1941), in which a flashback shows the protagonist (now on his deathbed) in an ambiguous snowy landscape. The circle also resonates with a number of theatrical and film devices: the spotlight, camera lens, etc. and this painting deftly harnesses the nostalgia, melancholia, and emotion of filmmaking, while amplifying the medium's ambiguity and mystery - this painting is a still moment that will not be explained at some other point in the narrative.

The snowflakes are both figurative and abstract, and play with mark-making techniques to show how a painter might think about both snow (descriptively) and the colored dots of an abstract composition (formally). The complex, yet whimsical, relationship between form, brushwork, and content in this work is an important moment in contemporary painting.

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Blotter (1993)

In Blotter we see a gloved figure standing on a sheet of frozen ice, watching his own feet as he appears to stamp in puddles, making ripples spread about him. His reflection is visible beneath and he is backed by a snowy bank, and higher up, a darkening forest. The movement on top of the ice is mesmerizing and the figure is totally absorbed in his action. The ice is rendered in calming purples, grays and blues.

The title referred to the process of building up color - literally soaking paint into the canvas - but also to the experience of being completely absorbed in a place or landscape. To start, Doig took a photo of his brother on ice onto which he had pumped water to create more interesting and vivid reflections. Doig was fascinated by the use of reflection in film, which is often used to represent an entrance point into another world. In this piece he reference's Jean Cocteau's 1950 film Orphée.

Additionally, blotting paper can be used to carry LSD, a drug that Doig took as a teen. Art critic Sean O'Hagan said: "A painting like the knowingly titled Blotter is charged with that heightened, fractured, but pinpoint-clear way of seeing that anyone who has taken the drug will immediately recognize." This was what Doig was trying to achieve with his work; he wanted the viewer to experience states of minds that are hard to describe.

Blotter won the first prize in the 1993 John Moores Painting Prize exhibition, representing a turning point in Doig's career, and an appetite for this strange and enticing form of Magical Realism.

Canoe Lake (1997)

This canvas features a green canoe floating on a yellow lake. The colors are acidic and sickly. A feminine figure slumps in the boat, as her hand dangles into the water, meeting its reflection. Behind the lake, reeds reach upwards.

This work was one of seven canoe paintings that would become one of Doig's trademarks. Canoes have long been used to symbolize Doig's childhood home, Canada, in art and imagery, but Doig also favors boats as they create a suggestion of hidden depths. He said: "Because you think of floating. There is a lot more below". Art critic Adrian Searle saw something darker in the canoe motif: "Figures in canoes and boats drift through Doig's show, as though - a disconcerting thought, this - biding their time, waiting to ferry us to the underworld." In either interpretation, the canoe is a precarious vehicle for travelling the unseen waters of Doig's paintings.

As with Milky Way (1989-90), the motif of the girl in the canoe is borrowed from the ultimate scene of slasher movie Friday the 13th. He said: "People thought it was about the horror in the film. It was never about that. It was more about the mood - an image of a woman in a boat. Why is the woman in the boat? Why is her hand dangling in the water? It's almost as if she's fallen asleep and is in the process of waking up."

Of course, the in-between-ness of the half sleeping girl in the canoe is itself a horror trope, with links to the undead, to death, and to ghosts roaming bodies of water. Although Friday the 13th's girl protagonist is ostensibly a survivor of the film, Canoe Lake also cites John William Waterhouse's The Lady of Shalott (1888), the famous Pre-Raphaelite rendering of the suicidal protagonist of Tennyson's eponymous poem. The painting's unnerving imaging of a non-site (which simultaneously exists in our world, the underworld, the world of the horror movie and that of the Pre Raphaelites) remains a troubling testament to the power of painting on the human psyche today.

Echo Lake (1998)

In the middle of this surreal landscape a police car stands as an officer approaches the starlit lake in the foreground, his reflection visible beneath. He is peering out towards the viewer with his hands aloft as if he is shielding his eyes to see into the darkness. His mouth is open as if he is calling out. Eerie forests absorb the light, and horizontal bands of color in the middle of the piece are muddy and dark, while the greens of the trees behind are ghostly.

The piece's darkness, the figure's pose and the eerie background all refer back to Edvard Munch's Ashes (1894), painted more than 100 years earlier. Doig said: "I looked at the coloration and the expression. Also I felt, she's looking out on to a lake. In my painting, a policeman looks out across the lake towards the viewer, the screamer. I took that directly from Munch."

Nicholas Serota, Chair of Arts Council England, said Doig's paintings "have a kind of mythic quality that's both ancient and very, very modern. They seem to capture a contemporary sense of anxiety and melancholy and uncertainty. Lately, he's gone more toward the sort of darkness we associate with Goya." This is evident here. The piece is menacing, asking more questions than it answers. Again we see the reflection motif, bringing up thoughts of drowning in the unknown. The low vantage point suggests we, the viewer, are in the lake, perhaps floating in one of Doig's famed canoes. We are far enough away to be unable to hear the officer's shouts of warning or rescue. Doig was always looking to produce "an image that is not about a reality, but one that is somehow in between the actuality of the scene and something that is in your head". By positioning us, the viewer, as the "screamer" in his own painting, Doig again centralizes an embodied, emotive experience of his work, an ideal that had long been absent in discussing important aspects of contemporary art's relationship to its audience.

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Two Trees (2017)

At three and a half meters wide, this piece is so monumental that when it was installed in the South London Gallery, windows had to be removed to get it in. The canvas depicts three young men, standing in front of the ocean as the rising moon or setting sun brightens the horizon.

The piece took six years to complete and Doig worked on it up until the moment it was delivered to the gallery. All of the artist's signature motifs are there; water, reflection, a solitary boat, snowfall, vivid color, and mysterious messages, but here the violence hinted at in previous pieces becomes more pronounced, literally foregrounded in the painting.

On the left a hockey player in a helmet wears a camouflage uniform, which ironically functions to make the player, holding his big stick, even more visible. In the middle, a young man's head is either dressed in what could be a knitted hat or showing an exposed brain. This figure referred to a killing that took place in Doig's own Trinidad neighborhood, according to press reports at the time. On the right a man films a scene with a camcorder - signposting events in which onlookers film scenes of death and devastation, rather than stepping in to help.

Mark Hudson, art critic, said: "This is art that's designed to resonate in the mind as much as the eye: a sumptuous Magic Realism for the digital age, with a random, search-engine-like connection-making rendered in oil painting that delights with the sheer richness of its surfaces."

Related Artists and Major Works

Beach of Dangast with Flying Boat (1929)

Movement: Magic Realism (Read Movement Overview, History, and Artworks pages)

Artist: Franz Radziwill

After spending a couple of years in Berlin, in 1923 Radziwill settled in the town of Dangast, a coastal city on a bay off of the North Sea. He was both enamored by and reticent about the encroaching technology in this small town. He often depicted this ambivalence in his paintings. Here, in this quiet, rather normal looking, beach scene, an airplane, which seems to lack a propeller and whose body resembles the hull of a ship, flies into the scene, perhaps about to land near the idyllic house. Its purpose, its passengers, its destination all remain mysterious. Additionally, the lighting of the scene and the strange rocks that punctuate the beach seem to have fallen from another world, marking the work exemplary of Franz Radziwill's Magic Realism.

German critic Franz Roh initially described Magic Realist paintings as "enigmas of quietude in the midst of general becoming." Unlike his Neue Sachlichkeit colleague and friend Otto Dix, Radziwill opted not for biting cultural satire but for rendering the strangeness of a rapidly changing world that encroached on traditional ways of life.

Iscariot Blues (2006)

Artist: Chris Ofili (Read Full Artist Overview, Biography, and Artworks pages)

Compared to the brightness, optimism and vivid color of Ofili's earlier works, the Blue Rider series provides a marked departure. In tribute to Wassily Kandinsky's and Franz Marc's Der Blaue Reiter movement, this series of dark canvases abandon the cheerful style of Ofili's 1990s works. Iscariot Blues shows two figures playing musical instruments while a third hangs from a gibbet under the cover of darkness. It is uncomfortable to look at, as the hanged figure's head snaps back from the pressure of the rope. It is also difficult to decipher; the tones and colors so dark it is hard to discern the figures.

The work is drawn from the Trinidadian folklore of the island he has made his home where, at carnival time, people dress up as blue devils and terrorize onlookers with blood, snakes and frogs. Tradition dictates that these blue 'devils' have permission to behave in a menacing and intrusive manner that would normally be prohibited by society. In this series, Ofili associates these 'blue devils' with the 'boys in blue', the British police, explicitly challenging police violence in the UK. The images in the painting are rendered in such darkness they are barely visible, suggesting conduct that occurs in a state of near invisibility.

This image in particular expresses the anger and humiliation inspired by 'stop and search' (or 'stop and frisk' in the USA) tactics, which are overwhelmingly used by police without provocation on black and brown youth.

Matthew Ryder QC, a barrister who has experienced the indignity of stop and search, explained: "This piece captures something much harder to express - the peculiar way that such confrontations between black men and the police are simultaneously intensely crude and unusually subtle. They are crude because of the pervasive sense of menace and the blunt threat of violence. The dark intensity of Blue Devils reflects that beautifully: just as in real life, as we stare at the interaction, it takes your eyes a moment to adjust and take it all in."

Police violence against black people, especially black men, is an international scourge currently, in both the UK and the USA, and is difficult to challenge because of the power of police forces and the fact that the general public often holds the police in high esteem. This series is a dark, affecting, soulful depiction of police violence, and one of the very few representations of this kind of racist violence.

The Scream (1893)

The Scream (1893)

Artist: Edvard Munch (Read Full Artist Overview, Biography, and Artworks pages)

The significance of Munch's The Scream within the annals of modern art cannot be overstated. It stands among an exclusive group, including Van Gogh's Starry Night, Picasso's Les Demoiselles d'Avignon, and Matisse's Red Studio, comprising the quintessential works of modernist experiment and lasting innovation. The fluidity of Munch's lateral and vertical brushwork echoes the sky and clouds in Starry Night, yet one may also find the aesthetic elements of Fauvism, Expressionism, and perhaps even Surrealism arising from this same surface.

The setting of The Scream was suggested to the artist by a walk along a road overlooking the city of Oslo, apparently upon Munch's arrival at, or departure from, a mental hospital where his sister, Laura Catherine, had been interned. It is unknown whether the artist observed an actual person in anguish, but this seems unlikely; as Munch later recalled, "I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence ... shivering with fear. Then I heard the enormous, infinite scream of nature."

This is one of two painted versions of The Scream that Munch rendered around the turn of the 20th century; the other (c. 1910) is currently in the collections of the Munch Museum, Oslo. In addition to these painted versions, there is a version in pastel and a lithograph.

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