{"id":163651,"date":"2023-03-15T10:00:48","date_gmt":"2023-03-15T14:00:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=163651"},"modified":"2023-03-16T14:29:36","modified_gmt":"2023-03-16T18:29:36","slug":"the-review-celebrates-seventy-with-fried-eggs-by-the-canal","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/03\/15\/the-review-celebrates-seventy-with-fried-eggs-by-the-canal\/","title":{"rendered":"The Review<\/em> Celebrates Seventy with Fried Eggs by the Canal"},"content":{"rendered":"
\"\"

Peter Doig, Canal Painting<\/em>, 2022\u20132023, on the cover of issue no. 243. \u00a9 Peter Doig. Courtesy of the artist and TRAMPS; photograph by Prudence Cuming.<\/p><\/div>\n

For the cover of our<\/em> seventieth-anniversary issue, we commissioned a painting by the artist Peter Doig, of a boy eating his breakfast beside a London canal. Our contributing editor Matthew Higgs spoke with Doig about his influences and fried eggs.\u00a0<\/em><\/p>\n

INTERVIEWER<\/p>\n

How did the cover image come about?<\/p>\n

PETER DOIG<\/p>\n

I\u2019d made a birthday card for my son Locker\u2014a more cartoony version of what became the painting. I quite liked the subject: he\u2019s sitting at a caf\u00e9 on the towpath of the canal in East London.\u00a0<\/strong>Everyone who knows London knows the canal\u2014we take it for granted. I can\u2019t think of any paintings of it, but it seems to me a sort of classic painting subject.<\/p>\n

I started working on the image alongside a big painting I was making for an exhibition at the Courtauld. I was thinking about how my work relates to the Impressionist galleries there, which contain C\u00e9zanne, Gauguin, Daumier, Van Gogh, Seurat, et cetera. I had begun many of the paintings before I was invited to make the exhibition, but most of them had a long, long way to go before being finished. I\u2019d brought all my paintings to my London studio from New York and Trinidad, and all of a sudden I had more paintings in progress than I think I\u2019d had in probably thirty-odd years. It was quite exciting in a way, but then I had to make an edit, to decide which ones I was going to concentrate on, because I was getting carried away and I was never going to finish everything. The canal painting was the one very, very new one. That\u2019s why I liked it for the\u00a0Review<\/em>\u2014and because, although I thought of the image as very much a London painting, somehow after I made it I was reminded of Paris, and of French painting more than of English painting.<\/p>\n

INTERVIEWER<\/p>\n

Is it important that the viewer knows the boy is your son?<\/p>\n

DOIG<\/p>\n

Perhaps for people who know him. I\u2019ve got quite a large family, and so it\u2019s important to me that when I make a painting that depicts one of my children, the others can relate to it and feel that they understand why I did it. In the painting of Locker, I wanted to capture a person at that stage in life, the way C\u00e9zanne did when he used his son as a model. Another one of the paintings in the Courtauld exhibition features my daughter Alice in a hammock surrounded by greenery. I began working on the painting in 2014\u2014I know that because I recently found a photograph of Alice standing in her primary school uniform looking at it when I very first started it. I finished it this year in my studio in just a few hours, after having returned to it after all those years. One of my other kids saw it and said that I had absolutely captured Alice at that age. That\u2019s why I left it not quite finished, with translucent tones\u2014I wanted it to feel almost ghostly. She\u2019s now a grown woman, and it captures the passage of time.<\/p>\n

INTERVIEWER<\/p>\n

What\u2019s the significance of the canal?<\/p>\n

DOIG<\/p>\n

The canal, up until fairly recently, was a place of dread. After the industrial revolution, the canal no longer served the buildings on it, so for a long time stepping onto the towpath at night meant risking a mugging or worse. That has changed and is changing. The painting\u2019s setting is a real caf\u00e9 very close to where we live at present,\u00a0and where I\u2019ve spent quite a bit of time over the last few years, looking westward at the view through the bridge. Sitting there I realized how beautiful it is, and how much like a painting it is already. I also thought of paintings by Manet and others\u2014paintings of railways and train stations, with figures in the foreground.<\/p>\n

INTERVIEWER<\/p>\n

The Impressionists painted some of the earliest depictions of what we understand as modernity.<\/p>\n

DOIG<\/p>\n

I was looking at Manet\u2019s painting A Bar at the Folies-Berg\u00e8re<\/a><\/em>. Behind the girl at the bar, there are two globes in the background, two spheres. It\u2019s not obvious at first, but they are electrical lights, and Manet painted them in very, very sharp focus, whereas everything else in the painting is quite blurred. I suppose at the time Manet made the painting the viewer would have been really surprised by this very modern element entering a work of art. In my painting, the eggs are a bit like that\u2014in a way, the eggs are the most contemporary thing in the painting.<\/p>\n

 <\/p>\n

Matthew Higgs is a contributing editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cIn a way, the eggs are the most contemporary thing in the painting.\u201d<\/p>\n","protected":false},"author":2340,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[907],"tags":[26142,2610,31011,67827,68629,24205],"class_list":["post-163651","post","type-post","status-publish","format-standard","hentry","category-at-work","tag-canals","tag-cover","tag-east-london","tag-featured","tag-fried-eggs","tag-peter-doig"],"acf":[],"yoast_head":"\nThe Review Celebrates Seventy with Fried Eggs by the Canal by Matthew Higgs<\/title>\n<meta name=\"description\" content=\"March 15, 2023 \u2013 \u201cIn a way, the eggs are the most contemporary thing in the painting.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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