Doig, however, establishes this dense tracery of lines earlier in the painting process and uses it as a device to pull your eye to the surface of the work. If an artist from an earlier and more traditional era had painted this picture, he or she would have started with the distant features of the background, building the image layer upon layer until they finished in the foreground with the veil of branches. Viewed from a high eye-level, an impenetrable weave of frosted branches glisten with snow and hang like a veil, obscuring the ice-cold building and its frozen pool. The painting is as much about surface as it is about depth, recalling the woodland scenes of Paul Cézanne and Gustave Klimpt it is as much about abstraction as it is about representation, evoking both the dense dribble and spatter of a Jackson Pollock and the isolation and emptiness of an Edward Hopper and it is as much about the relationship between man and his environment, with nature reclaiming its own habitat as the architecture is menacingly encircled by the encroaching forest. You can see its Canadian heritage in the art of Tom Thomson and the Group of Seven. This is a vast postmodern landscape that draws on many different artistic influences and ideas. 'The Architects Home In The Ravine' is an enchanting painting by Peter Doig based on photographs and childhood memories of Beaumont House, the home of the famous Canadian architect, Eberhard Zeidler. In this etching a singular style of line multi-tasks to express form, tone and texture with such empathy for the subject that you almost feel you could pull on the end of a line to unravel the entire drawing like a ball of wool.
In the background of the work he uses hatched lines to draw the row of trees and the gate but any inconsistency in their style is immediately concealed in a haze of scribbles. He gradually builds up the density of line to render the darker areas of tone and reduces it to suggest the lighter. His swirling scribbles correspond perfectly to the bouncy texture of a fleece.
The vocabulary of scribbled and hatched lines that Moore developed for these drawings is very compatible with their subject. Some of these images were later reworked as etchings like the one above. As a sculptor, Moore was fascinated by the subtle variations in the cushioned forms of their woolly fleeces and he recorded these observations in a sketchbook using a ballpoint pen. In 1972, while preparing for a major retrospective exhibition of his sculptures in Florence, Henry Moorewould relax by drawing the sheep in a field outside his studio.
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