Jack Vettriano

Those who have visited me know that my office is sparsely decorated. Unless my Akeelah and the Bee promotional spelling flashcards count, I do not have any personal mementos on display. Something I have gotten rather attached to over the last year, however, is my 2006 Jack Vettriano wall calendar.

Ever since I saw a reproduction of "The Singing Butler" a few years ago, I've sought out Vettriano's works for their representations of relationships, romance, mystery, and intrigue. From the elegant couple waltzing under the moonlight in "Dance Me to the End of Love", to the playfully titled "The Shape of Things to Come", which depicts an obedient husband trailing his wife, to the smooth, suave rat pack in "The Billy Boys", each painting encapsulates a model of escapism. I love the fluidity and movement of the figures, each captured omnisciently, mid-moment. My favorites are those where the characters have their backs turned to the viewer - I find it easier to utilize my imagination when the spirit and mood of the picture and not detailed facial features are emphasized.

One painting featured in the calendar, "In Thoughts of You", actually spurned some debate amongst a few women in my office. A woman, dressed in black and stiletto heels, is profiled sitting with a wine glass, gazing out a window. My interpretation was that she had pulled herself together for a night out on the town, but before venturing outside, needed to take a minute to mourn her very recent heartbreak. My coworkers had a range of story opinions as well: from overcoming the emotional carnage garnered from a one-night stand, to a simple but necessary moment of quiet meditation and self-reflection. I'm not an art connoisseur in the least, but I find art most enjoyable when dynamic discussion is inherently encouraged. While some would say Vettriano's "paint by numbers" style makes such consideration superfluous, I favor the grounding in a reality I can recognize.

In October 2005, it was proven that Vettriano, a self-taught artist, copied the well-known figures from a sketch book. Though critics didn't need any more ammunition to fuel their dislike of his designs, they used this as further evidence that Vettriano shouldn't be venerated. In this I have to agree with the Wikipedia entry: "His talent lies in placing his figures in an unusual narrative context." It's not who he paints, it's how he paints them.

In any case, I am currently on the lookout for the 2007 Vettriano calendar, so I can enjoy his art for another year.