Thinking about houses in the middle of nowhere for the previous post started me thinking about a couple of Peter Doig paintings and in particular what gives them a very different feeling to Michael Raedecker’s landscapes. The most obvious difference is in the time of day depicted; these are daytime scenes which makes for a very different feel. And they’re straightforward paintings, whereas part of the strangeness in Raedecker’s scenes comes from the use of stitch in the paintings. But, of course, it’s more than that.
Taking a last look at Gerhard Richter: Panorama at Tate Modern, which finishes tomorrow, I was struck, as at previous visits, by the large, predominantly white, abstract painting in the final room of the main show. The white of the painting makes it feel like a large, snowy landscape at once charming me and reminding me that this winter has so far failed to bite.
The traces of colour coming through the white make me think of Peter Doig’s Ski Jacket, a painting of a similar size and somewhat similar palette, though Doig’s painting makes much more use of colour. (It also reminds me of Wilhelm Sasnal’s Photophobia though that lacks scale by comparison.)