Peter Doig has aroused much passion in recent months for the prices his paintings have started to fetch in the world’s salerooms. For many, he is not only the acceptable face of contemporary British painting, but also a buoyant export and bright international star. Even those who dislike painting and prefer less demanding forms of art such as installation and photography are prepared to make an exception for Doig, perhaps because he is easy on the eye. Ten years ago he enjoyed a fairly prestigious show at the Whitechapel, now he’s been given the main galleries at the Tate’s Millbank branch. The Whitechapel show left me unconvinced of his virtues though I remember liking one or two of the smaller pictures. Now we have the chance to see what all the fuss is about. Is Doig the brand really worth the millions it can now summon?
Eight museum rooms of paintings (including some drawings) by a single artist can be enough to sink a reputation.
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