The Skeleton Tree Analysis

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album at this time of writing again has marked differences and continues a consistent run of critical acclaim. After the death of his son in 2015, The Skeleton Tree is by far his bleakest work, Cave goes to those uncomfortable spaces because he has too but it has the power to touch something deep within us all. Chapter 3, Pulling A Rabbit From A Hat. The most obvious example of transcendence in our contemporary culture is the magic act. For a brief moment, we are titillated by this possibility but the experience is a shallow one, once our suspension of disbelief has dropped and we remind ourselves it’s a trick. Peter Doig is a contemporary painter working in an arena dubbed magic realism. He is no illusionist in that his painterly…show more content…
Like Turner before him the painting communicates a specific feeling and seems concerned with time, as its title alludes. The feelings it nudges belong to something much more recent than a Turner could touch. The image is stripped of all reference to time and though Christ like the bearded man feels like something from the seventies, the paintings overall hallucinatory effect with its hippie connotations seems to emphasise this (Searle,…show more content…
Like them he is never happy for his work to stagnate and it has evolved over the course of his career, his style varies and is difficult to pin down. Underpinning this restlessness is a mutual respect for the creative urge. Doig shares profound similarities with Turner in the way he explores what the very material of paint can do when it comes to expressing a feeling or mood. Doig too is a romantic, as he suggests that nowadays even the act of painting has the fatalism of the romantic. “Ultimately it’s a hopelessly romantic thing to do. I’m certain if I thought about it too much then I would give up.” (Doig,2007) What is quite different about Doig and his work and sets him apart from Cave and Turner is his modesty and the innocence that seems to exist in his work. Tony Godfrey remarks on this noticing a childlike quality that often frequents his landscapes. Godfrey also suggests a search for innocence. This desire can be seen in Doig’s longing for a utopian world. (Godfrey, 2014) Much of Doig’s work is underpinned by this search for utopia or sense of its loss. It is particularly evident in his Trinidad paintings. These paintings of simple island life evoke Eden, and a time before man was burdened with original sin. They are an uncanny echo in feel and tone to Gauguin’s Tahitian odyssey which culminated in the masterpiece “Where Do We Come From? What Are We? Where Are We
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