Peter Doig ( / ˈ d ɔɪ ɡ/ DOYG; born 17 April 1959) [1] is a Scottish painter. He has settled in Trinidad since 2002. 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. Rudi Fuchs and Hans-Werner Schmidt, Go West Young Man, Walther Koenig (2007), ISBN 978-3-86560-191-9

Dem in Trinidad, London und New York lebenden und arbeitenden britischen Maler Peter Doig widmet die Fondation Beyeler eine Ausstellung, die seine bedeutendsten Gemälde präsentiert. Doig, 1959 in Edinburgh geboren, wuchs in Trinidad und Kanada auf. Er ist ausserdem Professor für Malerei an der Kunstakademie Düsseldorf. Rachel 的灵感来自收拾母亲遗物时看到的一个纸箱。这个纸箱勾起很多回忆——装过玩具，在上面玩过棋子......为了复刻更多人的记忆，Rachel 再次拿出浇铸的好戏，先用石膏精确浇铸纸箱，又为了让人记得这是个容器，又用聚乙烯材料重新制作。

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 home in Rosedale at the heart of the Toronto ravine. Peter Doig; Ineke Kleijn; Paula Van den Bosch (2003). Charley's Space. Hatje Cantz. ISBN 978-3-7757-1333-7.

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. Luke, Ben (10 February 2023). "Peter Doig at the Courtauld Gallery review: magnificence among the masters". Evening Standard . Retrieved 14 February 2023. Doig’s art will last because it embodies a unique, beguiling vision. His paintings take the mind to new places, far-off places, forgotten places. He paints landscapes but it would make no sense to call him a landscape artist. Rather, like the early 20th-century metaphysical painter Giorgio de Chirico, he creates spooky fictional places inhabited by bizarre outcasts. In one of his most peculiar images, two personages dressed in militaristic Austro-Hungarian or Prussian pre-1918 uniforms welcome their guest – you or me, the person looking into the painting – at the entrance to a curving driveway with bejewelled walls. They seem to be the guardians of Doig’s painted world: accept their invitation and you could enter this place, go up that driveway to who knows where. But it looks dangerous. Their clownish jollity is vaguely sinister. Would you really accept their offer? The painting is called Gasthof zur Muldentalsperre. It is as creepy as it is gorgeous.The daughter of an architect, Mogadassi met Doig when she came to work for his New York dealer, Gavin Brown, in 2010; she is now an independent curator who also works for the Michael Werner Gallery, which has exclusively represented Doig worldwide since 2012. In addition to the end of his marriage, Doig has had to cope with the recent death of his father, to whom he was very close, and with a protracted lawsuit, in which he had to prove that he had not painted a work that was attributed to him. Although the ensuing trial kept him away from his studio for months at a time, the paintings he has done in the past two years are among the most powerful and disturbing of his career. “Now, with all that trauma behind him, he’s freed up,” Mogadassi said to me. “He’s at an age when he doesn’t have anything to lose.” Rain in the Port of Spain (White Oak), 2015 We’ve been hearing a lot lately that “beauty” has been returning to art. The word is so overused it conveys little meaning, yet I can’t help saying that Peter Doig’s 12 paintings and 15 works on paper at the Arts Club are among the most beautiful works I’ve seen in Chicago recently. His landscapes, most based on photographs he collected from the media or took himself, are almost delirious confections that hover between scenes from reality and mental images. The beauty in them is not an absolute but a tentative, momentary experience of surprise and delight, making them part of the most significant trend in contemporary art–the rejection of the artist as revealer of truth in favor of the artist as conveyor of the incompleteness of human knowledge and the fragility of all human constructions. Frankel, Eddy (13 January 2023). "Peter Doig, Time Out says". Time Out . Retrieved 14 February 2023.