(Contemporary & Post-War Art | Prints & Multiples, 7th April 2021) § PETER DOIG (SCOTTISH 1959-) DRIFTER - 2001 Etching and aquatint, 20/46, from 100 Years Ago, published by The Paragon Press, London, signed and numbered in pencil the sheet 112.5cm x 167.5cm (44.25in x 66in) Note: Peter Doig is one of the most renowned contemporary figurative painters and for a while held the record for most expensive artwork sold at auction by a living artist. Based across New York, Dusseldorf and Trinidad, his large-scale works often have a dreamy, imaginative quality. Doig uses found photography and other existing imagery such as film stills, newspaper cuttings and art historical references as a basis for work, then painting expressively in response to them – this approach and his particular painterly technique often generate a sense of slipping and emergence, of things evolving and receding, memory, sensation and remembering. In ‘Drifter,’ there is a sense of the found photograph, with the focal light source bleaching out some of the details. In this haziness, we feel we know this figure but in this moment we can’t remember him, we are overcome with the reaching, the heat and the light.
(Contemporary & Post-War Art | Prints & Multiples, 7th April 2021) § PETER DOIG (SCOTTISH 1959-) DRIFTER - 2001 Etching and aquatint, 20/46, from 100 Years Ago, published by The Paragon Press, London, signed and numbered in pencil the sheet 112.5cm x 167.5cm (44.25in x 66in) Note: Peter Doig is one of the most renowned contemporary figurative painters and for a while held the record for most expensive artwork sold at auction by a living artist. Based across New York, Dusseldorf and Trinidad, his large-scale works often have a dreamy, imaginative quality. Doig uses found photography and other existing imagery such as film stills, newspaper cuttings and art historical references as a basis for work, then painting expressively in response to them – this approach and his particular painterly technique often generate a sense of slipping and emergence, of things evolving and receding, memory, sensation and remembering. In ‘Drifter,’ there is a sense of the found photograph, with the focal light source bleaching out some of the details. In this haziness, we feel we know this figure but in this moment we can’t remember him, we are overcome with the reaching, the heat and the light.
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