Jeffries, Stuart (8 February 2023). " 'I'm going to get a beating' – artist Peter Doig on taking on Cézanne, Renoir, Monet and more". The Guardian . Retrieved 14 February 2023. Shortly after Doig's graduation from the Chelsea College of Arts, he was awarded the prestigious Whitechapel Artist Prize culminating in a solo exhibition at the Whitechapel Art Gallery in 1991. Included in the Whitechapel exhibition were major works including Swamped (1990), Iron Hill (1991), and The Architect's Home in the Ravine (1991). The Architect's Home in the Ravine (1991) shows Eberhard Zeidler's modernist central Toronto home in the Rosedale ravine. [11]

In the Romantic sense, Doig’s works convey a sense of yearning in which viewers can lose themselves. His representations of nature, which are often extremely mysterious, are as exotic as they are melancholy and as attractive as they are sinister. Made 2000–2002 Medium Oil on canvas Dimensions 196 × 296 cm (77 1/8 × 116 1/2 in.) Credit Line Gift of Nancy Lauter McDougal and Alfred L. McDougal Reference Number 2003.433 Extended information about this artwork Doig created a series of paintings of Le Corbusier’s modernist communal living apartments known as l’Unité d’Habitation located at Briey-en-Forêt, in France. In the early 1990s Doig was involved with a group of architects and artists who operated from the building. The modern urban structures are partially revealed and hidden by the forest that surrounds them. As Doig explains: "When you walk through an urban environment, you take the strangeness of the architecture for granted." Luke, Ben (10 February 2023). "Peter Doig at the Courtauld Gallery review: magnificence among the masters". Evening Standard . Retrieved 14 February 2023.As a fascinating highlight of the extended presentation, Peter Doig will create a large mural at the Fondation Beyeler (also on the lower floor).

Shortly after Doig's graduation from the Chelsea College of Arts, he was awarded the prestigious Whitechapel Artist Prize culminating in a solo exhibition at the Whitechapel Art Gallery in 1991. Included in the Whitechapel exhibition were major works including Swamped (1990), Iron Hill (1991), and The Architect's Home in the Ravine (1991). The Architect's Home in the Ravine (1991) shows Eberhard Zeidler's modernist home in Rosedale at the heart of the Toronto ravine. Vogel, Carol (30 June 2014). "Bacon Painting Sets Pace for Auctions in London". The New York Times.Reilly, Samuel (9 February 2023). "Peter Doig, review: This modern master's unsettling voice rings out loud and clear". Daily Telegraph . Retrieved 14 February 2023. Dem in Trinidad, London und New York lebenden und arbeitenden britischen Maler Peter Doig widmet die Fondation Beyeler eine Ausstellung, die seine bedeutendsten Gemälde präsentiert. Doig, 1959 in Edinburgh geboren, wuchs in Trinidad und Kanada auf. Er ist ausserdem Professor für Malerei an der Kunstakademie Düsseldorf.

Aubrey Beardsley，1872年8月21日－1898年3月16日）。如果不是王尔德我都忘了他是英国人了，他那奥地利口味——世纪末、象征主义、唯美主义……我也乱了，有空再慢慢搞清楚。这很市民，也很文学，超了我的纲了。 Rachel 的灵感来自收拾母亲遗物时看到的一个纸箱。这个纸箱勾起很多回忆——装过玩具，在上面玩过棋子......为了复刻更多人的记忆，Rachel 再次拿出浇铸的好戏，先用石膏精确浇铸纸箱，又为了让人记得这是个容器，又用聚乙烯材料重新制作。 A tall, bearded man in white shorts walks across a tropical beach, glaring at the viewer. He is dragging something behind him, something we can’t quite see, because it’s in deep shadow, but the walker has just come into an abstract wash of whitish-blue paint—late-afternoon sunlight breaking through overhead palm trees—and his features are clearly visible. There is something troubling about this bearded man. The painting, although startlingly beautiful in its velvety, deep-viridian play of light and shadow, makes us uneasy. There’s a story here, one that may not end well, but we don’t know what it is. Hilton Als, Stéphane Aquin, Angus Cook, Keith Hartley, Peter Doig: No Foreign Lands, Hatje Cantz (2013), ISBN 978-3-7757-3723-4 Taking Friedrich’s iconography to the edge of kitsch, Doig stops just short of irony–because he believes in romance, using everything in his painter’s arsenal to give it new life. The stars in his evening sky are irregular shapes that almost magically suggest the twinkling of real stars. The two trees flanking the figure are painted as nearly transparent fields of color, and the painterly smears and drips in the foreground are another reference to painting itself. Doig’s willingness to mix three or four styles gives the painting its delicacy: each contrasts with the others, encouraging us to see that no one form of representation, no one way of seeing, is right–and that reality and our perceptions of it are unstable and worth celebrating in all their variety.Londres : l’art sensuel et transgressif de Carolee Schneemann, icône féministe et pionnière de la performance Adams, James (15 February 2013). "Artist Peter Doig sets a sales record". The Globe and Mail. Toronto. Chow, Vivienne (10 February 2023). " 'Outsider' Artist Peter Doig's New Paintings Find New Neighbors: Van Gogh and Manet". Artnet . Retrieved 14 February 2023. Doig has had major solo exhibitions at Tate Britain (2008), touring to Musée d'Art Moderne de la Ville de Paris and Schirn Kunsthalle Frankfurt, [17] Dallas Museum of Art (2005), Pinakothek der Moderne, Munich (2004), Bonnefanten Museum, Maastricht (2003), and Whitechapel Art Gallery, London (1998). [18] Doig's first major exhibition in his home country was entitled No Foreign Lands, taking place in the Scottish National Gallery, in Edinburgh, from 3 August to 3 November 2013. It was critically acclaimed and showed works created in the previous ten years, mostly during his residence in Trinidad. [19] Als faszinierender Höhepunkt der erweiterten Präsentation wird in situ (ebenfalls im Souterrain) ein grossflächiges Wandgemälde für die Fondation Beyeler entstehen, das Peter Doig realisieren wird.

Jones, Jonathan (16 May 2015). "Stroke of genius: Peter Doig's eerie art whisks the mind to enchanted places". The Guardian. Peter Doig; Ineke Kleijn; Paula Van den Bosch (2003). Charley's Space. Hatje Cantz. ISBN 978-3-7757-1333-7. Ses efforts sont récompensés par sa nomination au Turner Prize en 1994. Et, au fil des ans, par l’affirmation d’un style figuratif fluide : une étendue d’eau et ses reflets deviennent prétextes au traitement quasi abstrait de la matière, idem pour des ombres portées ou une végétation dense. Mais dans ses étranges images règnent un calme et une tranquillité suspects. Le plus souvent apparaissent quelques rares personnages perdus dans des paysages porteurs de forces obscures, inspirés par la nature caribéenne exubérante ou par les lacs gelés du Grand Nord canadien. Des lieux où l’artiste a vécu. Royal Academy of Arts， R.A.）比法国王家艺术学院晚了120年，在1768年建立。RA最开始是乔治三世发起的，想起查理一世，似乎搞艺术厉害的帝王将相都比较弱鸡……宋徽宗足利义政弗朗茨约瑟夫一世跟着泪目。 In 1993, Doig won the first prize at the John Moores exhibition with his painting Blotter. This brought public recognition, cemented in 1994, when he was nominated for the Turner Prize. From 1995 to 2000, he was a trustee of the Tate Gallery. [30] He was honoured with amfAR’s Award of Excellence for Artistic Contributions to the Fight Against AIDS in 2009. [31] He was also named the 2017 Whitechapel Gallery Art Icon. [32] Art market [ edit ]Catherine Grenier, Adrian Searle, and Kitty Scott, Peter Doig, Phaidon Press (2007), ISBN 978-0-7148-4504-3 The works of the British painter Peter Doig (* 1959 in Edinburgh), who divides his time between Trinidad, London, and New York, are densely atmospheric and sometimes uncanny. They are often based on found or private images, which the artist pieces together into dreamlike compositions full of melancholy and angst. Employing an unusual color palette and possessing an immense sensitivity for his medium, Doig creates superb images, following in the footsteps of great masters such as Paul Gauguin, Pierre Bonnard, and Henri Matisse. This publication presents him as an artist with a conceptual practice—as a visual thinker who is not only fascinated by the history of painting but also the painting process itself. The largeformat paintings and works on paper reproduced in the volume allow the viewer to share Doig’s creative passion and his enthusiasm for the power of paint. Peter Doig, Gasthof (2002–2004) Christie's Post-War & Contemporary Art Evening Auction, 1 July 2014, London. Doig’s art will last because it embodies a unique, beguiling vision. His paintings take the mind to new places, far-off places, forgotten places. He paints landscapes but it would make no sense to call him a landscape artist. Rather, like the early 20th-century metaphysical painter Giorgio de Chirico, he creates spooky fictional places inhabited by bizarre outcasts. In one of his most peculiar images, two personages dressed in militaristic Austro-Hungarian or Prussian pre-1918 uniforms welcome their guest – you or me, the person looking into the painting – at the entrance to a curving driveway with bejewelled walls. They seem to be the guardians of Doig’s painted world: accept their invitation and you could enter this place, go up that driveway to who knows where. But it looks dangerous. Their clownish jollity is vaguely sinister. Would you really accept their offer? The painting is called Gasthof zur Muldentalsperre. It is as creepy as it is gorgeous. Nicholas Laughlin and Alice Koegel, Peter Doig: STUDIOFILMCLUB, Walther Koenig (2006), ISBN 978-3-88375-941-8