Rudi Fuchs and Hans-Werner Schmidt, Go West Young Man, Walther Koenig (2007), ISBN 978-3-86560-191-9 Peter Doig would participate in the 56th Venice Biennale, opening the Fondazione Bevilacque La masa. Further, on the secondary market his works have been sold for seven up to eight figures at auction. Doing so, Doig features in internationally reputed public and private collections, including the Tel Aviv Museum of Art, the San Francisco Museum of Modern Art (SFMOMA), Tate Modern in London, the British Museum n London, or the Museum of Modern Art in New York (MoMA). 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. Peinture de grand format, en dehors de toute référence conceptuelle et loin d'un post- expressionnisme abstrait américain, l'œuvre de Peter Doig s'inspire des romantiques allemands, du symbolisme de Munch ou du naturalisme d' Edward Hopper.

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。

November 23, 2014 – März 22, 2015

Jones, Jonathan (16 May 2015). "Stroke of genius: Peter Doig's eerie art whisks the mind to enchanted places". The Guardian. 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] En 2008, une grande exposition rétrospective lui a été consacrée, organisée par trois musées: la Tate Britain de Londres (février-mai), le musée d'art moderne de la ville de Paris (juin-septembre), et la Schirn (Schirn Kunsthalle ou Schirn Kunsthalle Frankfurt) de Francfort (octobre-janvier). Le musée des beaux-arts de Montréal, en collaboration avec la Scottish National Gallery of Modern Art, présente sa propre exposition - la première d'envergure en Amérique du Nord - du 25 janvier au 4 mai 2014. 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. Hitch Hiker” also gave him the idea of using his Canadian experience in his work. “I suddenly had a subject that I hadn’t had before,” he said. Canada had always seemed familiar and mundane to him, but now, in London, it became exciting. During his time at Chelsea, and for the next few years, Doig painted what he called “homely” suburban houses, frozen ponds, ski areas, and open fields. The houses in these early paintings look uninhabited and desolate, and you see them through a screen of trees or underbrush, or blurred by falling snow. (He went on to paint architect-designed houses—including Le Corbusier’s Unité d’Habitation in Briey-en-Forêt, France, half hidden behind a screen of trees.) He was painting spaces that you had to make an effort to look into.

Luke, Ben (10 February 2023). "Peter Doig at the Courtauld Gallery review: magnificence among the masters". Evening Standard . Retrieved 14 February 2023. 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. Peter Doig; Ineke Kleijn; Paula Van den Bosch (2003). Charley's Space. Hatje Cantz. ISBN 978-3-7757-1333-7.The Montreal Museum of Fine Arts, in collaboration with the Scottish National Gallery of Modern Art, presented his own exhibition, the first major held in North America, from 25 January to 4 May 2014. An retrospective opened at Fondation Beyeler, Basel, in 2014, which travelled in 2015 to Louisiana Museum of Modern Art in Humlebaek, Denmark. Also in 2015, an exhibition of recent works opened at Fondazione Bevilacqua La Masa in Venice, Italy, coinciding with the 56th Venice Biennale. Recently his work was included in the group exhibition Cooperations at Fondation Beyeler (2017). [20] From 6 September to 16 November 2019, Michael Werner Gallery has hosted an exhibition of new paintings by Doig. [21] [22] In 1994, Doig had solo shows at Victoria Miro and at Gavin Brown’s Enterprise, in New York, which represented Elizabeth Peyton, Rirkrit Tiravanija, and other rising young innovators. “Peter saw unfashionability as an asset, as a weapon,” Brown recalled recently. “At the height of the Y.B.A.s, it was clear that he would outlast them.” He was short-listed for the Turner Prize in 1994 (the sculptor Antony Gormley won it that year), and a year later he was invited to be an artist-trustee of the Tate. The critical establishment, though, was not convinced. “[It’s] hard to see what all the fuss is about,” Artforum grumbled in 2000. “Doig is overstating his understatement.” When a Belgian collector said to him, “Tell me why I should buy your paintings,” Doig couldn’t think of an answer. Gasthof zur Muldentalsperre, 2000-02 I wanted to be somewhere different,” Doig told me. “It was mostly for my work, but I also felt that Trinidad had affected my life, and I wanted the children to have that experience.” Lapeyrouse Wall, 2004