Jack Vettriano

With the great news that Jack Vetrriano is to have a major exhibition at Kelvingrove Art Gallery in Glasgow, looking back at the past 20 years of his painting career, we thought it would be a good time to re-post.

Jack Vettriano

Born in Fife, Scotland in 1951, Jack Vettriano left school at sixteen to become a mining engineer. For his twenty-first birthday, a girlfriend gave him a set of watercolour paints and, from then on, he spent much of his spare time teaching himself to paint.

In 1989, he submitted two paintings to the Royal Scottish Academy’s annual exhibition; both were accepted and sold on the first day. The following year, an equally enthusiastic reaction greeted the three paintings, which he entered for the prestigious Summer Exhibition at London’s Royal Academy and his new life as an artist began from that point on.

Jack Vettriano Painting 41Over the last twenty years, interest in Vettriano’s work has grown consistently. There have been sell-out solo exhibitions in Edinburgh, London, Hong Kong and New York.

2004 was an exceptional year in Vettriano’s career; his best known painting, The Singing Butler was sold at Sotheby’s for close to £750,000; he was awarded an OBE for Services to the Visual Arts and was the subject of a South Bank Show documentary, entitled ‘Jack Vettriano: The People’s Painter’.

From 1994-2007, Vettriano was represented by Portland Gallery in London but the relationship ended in June 2007. Since then, Vettriano has been focusing on a variety of private projects, including the launch of a new book, and painting of a portrait of Zara Phillips as part of a charity fund-raising project for Sport Relief, the experience of which was captured in a documentary broadcast on BBC1 in March 2008.

Vettriano divides his time between his homes in Fife, London and Nice. Via Jack Vettriano.

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2 Responses to Jack Vettriano

  1. alfy says:

    An interesting review which fails to mention how sniffy the art establishment has always been about Vettriano’s work. While happy to put piles of bricks, sliced sharks in formalin, or unmade beds into state-subsidised galleries and exhibitions Vettriano was never considered worthwhile, His stuff was “repetitive, derivative, obsessive or limited in outlook” as if these cit6icisms did not apply with equal force to the non-representational stuff of the “accepted” people like Damian Hirst.. I hear the same cliches being trotted out by art critics on the BBC, when reviewing Vettriano’s exhibition.
    The real problem for the critics is that his work is immediately accessible, it looks as if it required real skill to produce it, and worst of all it is very popular with quite ordinary people. Vettriano stands condemned.

    • Deskarati says:

      I agree with you about Vettriano’s critics Alfy, if not your dislike of the plaudits of his contemporarys. Vettriano seems to be thought less of because his work is considered not to break any new ground. A common label that today’s critics like to trot out regularly and in my view completely ridiculous.

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