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拍品专文
‘I think that looking and looking through and focus are really important in paintings ... You see that in Matisse too. You see that in Cézanne … They use shifts in focus as a way to actually hold the thing together and just as much to hold you as a viewer. It makes the viewer physically a part of the work’
(P. Doig, quoted in ‘Peter Doig and Angus Cook in Conversation’, in Peter Doig No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh, 2013, p. 189).
Tall dark trees and dramatic spikes of foliage frame a bewitchingly still body of water in Peter Doig’s Pond Painting. Executed in 2000, its dusky chromatic spectrum of pale yellows and forest greens, streaked with delicate tints of grey and orange, create an enchanting yet brooding intensity. A superb example of Doig’s works on paper, Pond Painting was exhibited at the Dallas Museum of Art in 2005. The artist’s celebrated painterly practice, often described in terms of its ambient dreamlike nostalgia, is born of a vast archive of source imagery, drawn from postcards, magazines, films and photographs, as well as Doig’s own recollections of the striking Canadian landscape that surrounded him as a child. Veiled with delicate flecks of black paint, the silhouetted vista of Pond Painting has the spellbound aura of an old photograph or a grainy fragment of paused film footage. Observing the work, we feel as though we have stumbled upon a scene from a half forgotten memory.
Emerging as a visionary painter amidst the cool, detached, conceptual art of the Young British Artists in the 1990s, Doig has received wide acclaim for his distinctive compositional style and vivid pictorial surfaces. Frequently positioning the viewer within a dense forest, or overlooking a shimmering haze of watery reflections, Doig plays with perceptual orientation by layering foreground and horizon on top of one another, often planting vertical striations in the form of trees and plants to further confound our sense of perspective. In Pond Painting, this optical effect is cleverly married with the work’s sense of displaced time to create a finely tuned visual dialogue. This strategy may be seen in Doig’s Concrete Cabin works from the early 1990s, as well as in the painting Almost Grown, which, executed in 2000, has strong compositional links with the present work. ‘I think that looking and looking through and focus are really important in paintings’, claims Doig. ‘You see that in Matisse too. You see that in Cézanne … They use shifts in focus as a way to actually hold the thing together and just as much to hold you as a viewer. It makes the viewer physically a part of the work’ (P. Doig, quoted in ‘Peter Doig and Angus Cook in Conversation’, in Peter Doig No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh, 2013, p. 189).
(P. Doig, quoted in ‘Peter Doig and Angus Cook in Conversation’, in Peter Doig No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh, 2013, p. 189).
Tall dark trees and dramatic spikes of foliage frame a bewitchingly still body of water in Peter Doig’s Pond Painting. Executed in 2000, its dusky chromatic spectrum of pale yellows and forest greens, streaked with delicate tints of grey and orange, create an enchanting yet brooding intensity. A superb example of Doig’s works on paper, Pond Painting was exhibited at the Dallas Museum of Art in 2005. The artist’s celebrated painterly practice, often described in terms of its ambient dreamlike nostalgia, is born of a vast archive of source imagery, drawn from postcards, magazines, films and photographs, as well as Doig’s own recollections of the striking Canadian landscape that surrounded him as a child. Veiled with delicate flecks of black paint, the silhouetted vista of Pond Painting has the spellbound aura of an old photograph or a grainy fragment of paused film footage. Observing the work, we feel as though we have stumbled upon a scene from a half forgotten memory.
Emerging as a visionary painter amidst the cool, detached, conceptual art of the Young British Artists in the 1990s, Doig has received wide acclaim for his distinctive compositional style and vivid pictorial surfaces. Frequently positioning the viewer within a dense forest, or overlooking a shimmering haze of watery reflections, Doig plays with perceptual orientation by layering foreground and horizon on top of one another, often planting vertical striations in the form of trees and plants to further confound our sense of perspective. In Pond Painting, this optical effect is cleverly married with the work’s sense of displaced time to create a finely tuned visual dialogue. This strategy may be seen in Doig’s Concrete Cabin works from the early 1990s, as well as in the painting Almost Grown, which, executed in 2000, has strong compositional links with the present work. ‘I think that looking and looking through and focus are really important in paintings’, claims Doig. ‘You see that in Matisse too. You see that in Cézanne … They use shifts in focus as a way to actually hold the thing together and just as much to hold you as a viewer. It makes the viewer physically a part of the work’ (P. Doig, quoted in ‘Peter Doig and Angus Cook in Conversation’, in Peter Doig No Foreign Lands, exh. cat., Scottish National Gallery, Edinburgh, 2013, p. 189).