Thanks, Jan. I enjoyed writing it. I turned on Antiques Roadshow last night (a repeat from two years ago) and there was an early painting, signed Hoggan on there. Quite unlike a Vettriano. And his M&S biscuit tins go for quite a lot on eBay.
It read like you enjoyed writing it. When you write up an interview it’s so fresh in the mind you barely have time to digest so revisiting these pieces in hindsight makes for an interesting exercise. One of the things about JV was his lack of a theoretical training. No talk about his ‘practice’ for Jack. I saw Antiques Roadshow too and that made me laugh. It looked like a copy of a well-known painting but couldn’t think which one. I dug out W Gordon Smith’s writing and Duncan Mac’s comments in his Scottish Art tome when I was reading up for doing comment pieces. So true that WGS doesn’t overtly praise.
You're so right. The interview is such a condensed and artificial environment that it's hard to get above it. I've spoken to numerous (more acclaimed) artists over the years, and they all bemoaned Vettriano's lack of skill. I had an odd echo of this with WGS when I wrote a piece about punk rock, and WGS appended a paragraph bemoaning the fact that pop music's progress (high point: The Beatles) had been scuppered by a movement which had no interest in technique. (I'm paraphrasing horribly - I haven't seen the piece for 35 years). In the end, it's the ancient argument between what's popular and what's deemed significant. Time will tell whether Vettriano is Lowry or Tretchikoff.
Good question, and one that can be asked forever about everything. It's especially relevant in a time of algorithms, where popularity is the only currency.
Great read as ever Alastair, superb interviewer technique, loving your director's cut long players, thank you. The thing is, The Thing, was it Angus Grossart?
I really enjoyed this. Thanks for sharing.
Thanks, Margaret. I’m glad you enjoyed it.
The Lucy Jordan line made me smile.
I was happy about that line! And Jack ended up in Nice, so it all worked out.
Enjoyed reading that, Alastair. The Thing about Vettriano… it will run and run.
Thanks, Jan. I enjoyed writing it. I turned on Antiques Roadshow last night (a repeat from two years ago) and there was an early painting, signed Hoggan on there. Quite unlike a Vettriano. And his M&S biscuit tins go for quite a lot on eBay.
It read like you enjoyed writing it. When you write up an interview it’s so fresh in the mind you barely have time to digest so revisiting these pieces in hindsight makes for an interesting exercise. One of the things about JV was his lack of a theoretical training. No talk about his ‘practice’ for Jack. I saw Antiques Roadshow too and that made me laugh. It looked like a copy of a well-known painting but couldn’t think which one. I dug out W Gordon Smith’s writing and Duncan Mac’s comments in his Scottish Art tome when I was reading up for doing comment pieces. So true that WGS doesn’t overtly praise.
You're so right. The interview is such a condensed and artificial environment that it's hard to get above it. I've spoken to numerous (more acclaimed) artists over the years, and they all bemoaned Vettriano's lack of skill. I had an odd echo of this with WGS when I wrote a piece about punk rock, and WGS appended a paragraph bemoaning the fact that pop music's progress (high point: The Beatles) had been scuppered by a movement which had no interest in technique. (I'm paraphrasing horribly - I haven't seen the piece for 35 years). In the end, it's the ancient argument between what's popular and what's deemed significant. Time will tell whether Vettriano is Lowry or Tretchikoff.
… and is it significant because it’s popular?
Good question, and one that can be asked forever about everything. It's especially relevant in a time of algorithms, where popularity is the only currency.
Now I’m really getting depressed!
Really interesting! Many thanks.
Thanks, glad you enjoyed it!
Great read Alastair. Also enjoying your revisited tapes. Everything around Vettriano still more interesting than the art itself.
Thanks, Ellie!
Great read as ever Alastair, superb interviewer technique, loving your director's cut long players, thank you. The thing is, The Thing, was it Angus Grossart?
Thanks. Andy. I am going to propose a new publishing model where interviewers are given a 30 year deadline.
As to the Other Thing: there really is a gap on the tape. Then I say something that implies something. But I better not say any more.