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Peter Doig
STUDY FOR 'GIRL IN WHITE WITH TREES'
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拍品已售 550,000 英鎊 成交價 (含買家佣金)
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4
Peter Doig
STUDY FOR 'GIRL IN WHITE WITH TREES'
估價
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
UK: Greenford Park
Lots marked W will be sent to Greenford Park Fine Art Storage Facility immediately after the auction.
Artist's Resale Right
Purchase of lots marked with this symbol will be subject to the payment of the artist's resale right.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
400,000600,000
拍品已售 550,000 英鎊 成交價 (含買家佣金)
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拍品詳情

當代·當下:大衛·泰格故藏

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Peter Doig
生於1959年
STUDY FOR 'GIRL IN WHITE WITH TREES'
signed, titled and dated London-Port of Spain 2001-2002 on the reverse
oil on paper
137.8 by 101.9 cm. 54 1/4 by 40 1/8 in.
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來源

Gavin Brown's Enterprise, New York

Acquired from the above by David Teiger in 2003

展覽

Dallas, The Dallas Museum of Art; Vero Beach, The Gallery at Windsor; Toronto, The Art Gallery of Ontario, Peter Doig: Works on Paper, September 2005 - June 2006, p. 117, illustrated in colour

出版

Exh. Cat., London, Victoria Miro, 100 Years Ago. Peter Doig, April - May 2002, p. 22, illustrated in colour (in progress in the artist’s studio)

Exh. Cat., Edinburgh, Scottish National Gallery; Montreal, Montreal Museum of Fine Arts, Peter Doig, No Foreign Lands, August 2013 - June 2014, p. 124, illustrated in colour

相關資料

Created as a final preparatory study for one of Peter Doig’s most celebrated paintings, Girl in White With Trees from 2001-2002 (Bonnefantenmuseum, Maastricht), the present work typifies the artist’s unsettling compositional instinct. Derived from a family snapshot taken from the artist’s window in London, the present work depicts Doig’s daughter perched on a tree branch, gazing at the viewer. Her figure is both the dramatic pivot of the painting and its anchor to reality, surrounded as she is by an otherworldly sylvan morass. The serpentine branches that emanate from all sides of the composition emphasise her isolation within the picture plane, and recall the gestural action painting of Jackson Pollock. The most chromatically alluring work in a series of similar studies, Study for 'Girl in White with Trees' showcases Doig’s preeminent ability to blend abstract influences with a decidedly figurative style to create uniquely hypnagogic masterpieces.

Fascinated by the slippages and mediations of memory, Doig was heavily influenced by the Post-Impressionist painter Pierre Bonnard, who famously worked from memory alone. Doig describes what Bonnard crystallises in his painting as “the space that is behind the eyes. It’s as if you were lying in bed trying hard to remember what something looked like. And Bonnard managed to paint that strange state. It is not a photographic space at all. It is a memory space, but one which is based on reality” (Peter Doig in conversation with Hans Ulrich Obrist, in: Adrian Searle, Ed., Peter Doig, London 2007, p. 142). Like a Lynchian dream sequence or Werner Herzog panoramic, many of Doig’s figurations provide fertile ground for the chimerical intrigue that weaves its way into our unconscious. The girl in the painting is unidentified in its title, and thus becomes a figure onto which the viewer can project their interpretation of the work. Is she frightened and isolated, sinister and ghostlike, unreachable and unapologetically adolescent? Certainly all of these elements are present in Doig’s work – for instance in Canoe Lake (1997), Pelican (2004), and Jetty (1994) respectively – and it is his specific genius that he can conjure all three emotions without committing to any one in particular.

The tension generated between the representational subject matter of the figure and the abstract style that characterises the branches that surround her is a central tenet of Doig’s oeuvre. There is a clear cinematic aspect to the work; however, when viewed from a wider formalist perspective, it appears far more compositionally concerned with abstract concepts of chromatic contrast. Excluding the chaste delineations of the central figure, the sheet is covered by passages of colour that appear more experimental than representational. Exemplifying a quality that Doig has sought to perfect throughout his career, that “painting should evolve itself into a type of abstraction, to slowly dissipate into something else”, Study for 'Girl in White with Trees' is a superb example of Doig’s oeuvre (Peter Doig quoted in: ‘Peter Doig & Chris Ofili: Artists in Conversation’, BOMB, Fall 2007, online resource). A virtuosic and mysterious dreamscape, it distorts a familial memory, blending art historical reference with a keen compositional instinct to create a work that is as beguiling as it is beautiful.

當代·當下:大衛·泰格故藏

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