IN 2013 THE SCOTTISH NATIONAL GALLERY, EDINBURGH, ORGANISED NO FOREIGN LANDS, A CRITICALLY LAUDED EXHIBITION FOCUSED ON RECURRENT MOTIFS IN DOIG’S PAINTINGS; THE EXHIBITION LATER TRAVELED TO MUSÉE DES BEAUX-ARTS DE MONTREAL.

AN EXHIBITION DEVOTED TO THE ARTIST’S PAINTINGS AND PRINTS WAS ON VIEW AT LOUISIANA MUSEUM IN HUMLEBÆK, DENMARK, AFTER ORIGINATING AT FONDATION BEYELER IN BASEL, SWITZERLAND IN 2014. DOIG SERVED AS A TRUSTEE OF THE TATE FROM 1995 TO 2000, AND IN 2008 WAS AWARDED THE WOLFGANG HAHN PRIZE OF THE SOCIETY FOR MODERN ART, MUSEUM LUDWIG, COLOGNE.

IN A CAREER SPANNING THREE DECADES PETER DOIG HAS ESTABLISHED HIMSELF AS ONE OF THE MOST INVENTIVE AND ACCOMPLISHED ARTISTS WORKING IN PAINTING TODAY. EARNING INTERNATIONAL CRITICAL RECOGNITION IN THE EARLY 1990S, DOIG RESHAPED THE DISCUSSION AROUND PAINTING AT A TIME WHEN MANY ARTISTS AND CRITICAL THINKERS PREOCCUPIED THEMSELVES WITH RUMOURS OF ITS DEATH. OBSESSED WITH THE EVOCATIVE POTENTIAL OF PAINT AND DECIDEDLY PICTORIAL IN APPEARANCE, DOIG’S WORK EMBRACES THE RECENT HISTORY OF ABSTRACTION, BROADER TRADITIONS OF NARRATIVE PAINTING AND CONTEMPORARY POPULAR CULTURE. HIS INVENTIVE APPROACH TO THE LANGUAGE AND MEDIUM OF PAINTING, COUPLED WITH A USE OF PHOTOGRAPHY AND CINEMATIC SOURCES, HAS ALLOWED DOIG TO CREATE SOME OF THE MOST RESONANT IMAGES IN CONTEMPORARY ART. THEN AS NOW, HIS SINGULAR APPROACH TO PAINTING AMOUNTS TO A THOROUGH REIMAGINING OF THE MEDIUM’S POTENTIAL FOR DEPTH AND MEANING.