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拍品专文
'In works such as Figure in Mountain Landscape 1997-1998, Doig positions the viewer just behind the peculiarly hooded artist perched on a mountain top, so that we view the plein-air painting as well as the view itself scale and vantage point pulling the viewer into the hallucinogenic vision'
(J. Nesbitt (ed.), Peter Doig, exh. cat., Tate, London 2008, p. 15).
Peter Doig's, Figure in a Mountain Landscape, 1998, is a visual record of the Canadian wilderness, it's a contemporary revisiting of Caspar David Friedrich's vision of the artist being dwarfed by the landscape that surrounds him. Set from a Godlike vantage point, Doig situates the viewer perched above the landscape, as if we are just beyond the picture plane peering in. Describe by the artist as a favourite series, further iterations of this work are in The Philadelphia Museum of Art, Philadelphia, and Pinchuk Art Center, Kiev, with an etching of the work in Tate, London.
For Doig, recollections of Canada have always been rich sources of inspiration, and in the case of Figure in a Mountain Landscape, the hooded figure huddled over his canvas is derived from a 1935 photograph of the Canadian Group of Seven artist Franklin Carmichael painting the Ontario wilderness en plein aire. Doig lived in Canada from 1966-1979 and 1986-1989, but it was not until he had moved to England to attend the Chelsea School of Art, that he began re-visiting and reliving the landscapes of his youth. As the artist has explained, 'I was trying to come to terms with the Canadian part of my life. I left Canada when I was nineteen. I really wanted to get away. I felt bored. London seemed to be where the things I was interested in were coming from. Going back to Canada when I was a little bit older, I realised how much I had absorbed there. It now felt important. For the most part I tried to avoid becoming involved in nostalgia, and that's why a lot of the imagery I used for these paintings were things that reminded me of my experience rather than things that were directly from my experience' (P. Doig, quoted in A. Searle, K. Scott & C. Grenier (eds.), Peter Doig, London 2007, p. 131). Inspired by the Group of Seven painters, Figure in a Mountain Landscape, is a subtle nod to his artistic predecessors in Canada while acknowledging his departure from this legacy: ' During the time that I returned to Canada I tried to make a painting of the landscape en plein air, and I found it impossible to have either a focus or distance on that image. I was much more comfortable with looking at something on a page, as a way to contain the image' (P. Doig, quoted in A. Searle, K. Scott & C. Grenier (eds.), Peter Doig, London 2007, p. 131).
As with all of Doig's great paintings, here he balances the sense of his intellectual progression of painting in the late twentieth century, with his acute relationship with tradition and most particularly Romanticism. The image of the man alone in nature speaks directly to the great German Romantic painters of the 19th Century, such as Caspar David Friedrich, and in this way Figure in a Mountain Landscape captures the sense of the artist's relationship with not only the landscape but also offers an oneiric atmosphere of man's place in a vast universe. With its vivid expressionist departure from reality, estranged from its original source, Doig's surreal, hallucinogenic palette has introduced an existential dimension, prompting the viewer to ask questions about the picture itself, the world it represents, and our own place within our own surroundings. Capturing both the figure and his canvas, Figure in a Mountain Landscape, reveals itself to be a painting about painting; its presentation of the world informed by Doig's organic painting process.
(J. Nesbitt (ed.), Peter Doig, exh. cat., Tate, London 2008, p. 15).
Peter Doig's, Figure in a Mountain Landscape, 1998, is a visual record of the Canadian wilderness, it's a contemporary revisiting of Caspar David Friedrich's vision of the artist being dwarfed by the landscape that surrounds him. Set from a Godlike vantage point, Doig situates the viewer perched above the landscape, as if we are just beyond the picture plane peering in. Describe by the artist as a favourite series, further iterations of this work are in The Philadelphia Museum of Art, Philadelphia, and Pinchuk Art Center, Kiev, with an etching of the work in Tate, London.
For Doig, recollections of Canada have always been rich sources of inspiration, and in the case of Figure in a Mountain Landscape, the hooded figure huddled over his canvas is derived from a 1935 photograph of the Canadian Group of Seven artist Franklin Carmichael painting the Ontario wilderness en plein aire. Doig lived in Canada from 1966-1979 and 1986-1989, but it was not until he had moved to England to attend the Chelsea School of Art, that he began re-visiting and reliving the landscapes of his youth. As the artist has explained, 'I was trying to come to terms with the Canadian part of my life. I left Canada when I was nineteen. I really wanted to get away. I felt bored. London seemed to be where the things I was interested in were coming from. Going back to Canada when I was a little bit older, I realised how much I had absorbed there. It now felt important. For the most part I tried to avoid becoming involved in nostalgia, and that's why a lot of the imagery I used for these paintings were things that reminded me of my experience rather than things that were directly from my experience' (P. Doig, quoted in A. Searle, K. Scott & C. Grenier (eds.), Peter Doig, London 2007, p. 131). Inspired by the Group of Seven painters, Figure in a Mountain Landscape, is a subtle nod to his artistic predecessors in Canada while acknowledging his departure from this legacy: ' During the time that I returned to Canada I tried to make a painting of the landscape en plein air, and I found it impossible to have either a focus or distance on that image. I was much more comfortable with looking at something on a page, as a way to contain the image' (P. Doig, quoted in A. Searle, K. Scott & C. Grenier (eds.), Peter Doig, London 2007, p. 131).
As with all of Doig's great paintings, here he balances the sense of his intellectual progression of painting in the late twentieth century, with his acute relationship with tradition and most particularly Romanticism. The image of the man alone in nature speaks directly to the great German Romantic painters of the 19th Century, such as Caspar David Friedrich, and in this way Figure in a Mountain Landscape captures the sense of the artist's relationship with not only the landscape but also offers an oneiric atmosphere of man's place in a vast universe. With its vivid expressionist departure from reality, estranged from its original source, Doig's surreal, hallucinogenic palette has introduced an existential dimension, prompting the viewer to ask questions about the picture itself, the world it represents, and our own place within our own surroundings. Capturing both the figure and his canvas, Figure in a Mountain Landscape, reveals itself to be a painting about painting; its presentation of the world informed by Doig's organic painting process.