Peter Doig, Rain in the Port of Spain (White Oak) (2015), all photos by Sophie Kitching for Art Observed

Venetian Ettore Tito was one of the first stars of the Venice Biennale at its inception, presenting his work in almost every one of the early exhibitions through at 1920.  The artist’s colorful compositions often tinged with a slightly surreal, impressionist edge, were a prize of the Italian state in the early decades of the twentieth century, and often filled rooms during the first exhibitions in the city.

It’s a fitting parallel then, that the Scottish-born Peter Doig would be tapped for an exhibit at the former home of the artist, and current location of the Fondazione Bevilacqua La Masa.  Presenting a body of new works, including fourteen paintings and an additional six large-scale canvases, the exhibition’s intimate locale and rich history offers a strong parallel for Doig’s own interpretive and illusory meditations on modernity, memory and fantasy.

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Peter Doig, I Think it’s Time (1982-83), via Michael Werner

Currently on view at Michael Werner Gallery in New York is an exhibition of works by Scottish artist Peter Doig, meant to be indicative of his formative years, including several works that have never been on public display before.  Displaying the artist’s signature, boundary-breaking approach, the show is a fitting complement for anyone interested in the painter.

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Scottish painter Peter Doig speaks about his life in Trinidad as he prepares for his upcoming exhibition, New Works at Michael Werner Gallery in London, opening  this September 27th. Doig, who moved to the Caribbean island ten years ago, discusses his “hoarding” of images, and how this enables him to combine mental pictures in his work. The Scottish artists works have sold for up to £6 million, making him at one time the most expensive living painter in Europe.

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