Interactive Media

Critical Reflective Studies

Jack Vettriano - A Victim of His Own

Success

Tracy Dawson

Word Count: 1,990

Tracy Dawson Interactive Media – Critical Reflective Studies

Contents Page

Student Name 1

Proposed Title 1

Introduction 1

Main Body 2-5

Conclusion 6

Bibliography 7 - 11
Tracy Dawson Interactive Media – Critical Reflective Studies

Name: Tracy Dawson

Proposed Title: Jack Vettriano - A Victim of His Own Success

Introduction
This report will look at the artist Jack Vettriano. Jack Vettriano marks a difference
within the art world between that of the public buying market and of the art elite e.g. the
National Galleries and art critics. The author will look at whether an artist’s success
within public markets have a detrimental effect on how they are perceived by the art
elite and whether there is a preferred pathway to success that the art elite favour.

There are various articles, interviews and books written on Jack Vettriano as well as TV
documentaries that look into the success he has achieved, the details of his painting
and background, they also mention the lack of recognition; but only briefly.

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Main Body
Jack Vettriano is Scottish born artist with no formal training and in fact comes from a
mining background as a mining engineer. Basically Jack taught himself to paint at the
age of 22 having been bought a set of water colour paints by his then girlfriend Ruth
McIntosh. From selling his first 2 paintings at the Royal Scottish Academy his rise to
commercial success has been dramatic, to the point where he holds the record for the
highest priced painting ever sold in Scotland; The Singing Butler £744,800. He earns
an estimated income of £500,000 a year on the re-sale of postcards and posters alone
and is arguably the most famous Scottish artist ever; he even has a street in Scotland
named after him, Vettriano Lane.

The fairy tale story talks for itself with the Scottish public celebrating his success to the
point where Jack felt the need to move to London and Nice to escape the limelight.
Earlier this year Jack was crowned Great Scot at an event in Central London. Now
although Jack has great success in the commercial market and is loved by the Scottish
public he is still yet to receive recognition for his work in the world of the art elite; even
the National Galleries of Scotland don’t own one Jack Vettriano painting. A search for
Jack Vettriano on the National Galleries of Scotland Website produced not one
reference to him.

There are various opinions to why this is so, his success, the lack of training, his
abilities, the out of date style; the list could go on. According to Matthews (2004 cited
in Smith 2004, p.1), states that ‘he is a phenomenon. For posters he is our bestselling
artist by far in the past year, beating the Dalis, the Monets and the Warhols.’

Combined with the sale of his paintings this shows his success in the commercial
market alone even film stars buy his work. As part of my research I spoke to the
Economic Development Manager John Whaling of St Helens Council who has been
involved in the Dream Sculpture in St Helens. Jaume Plensa designed a sculpture to
be displayed at the old Sutton Manor Colliery site in St Helens, Merseyside titled

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Dream. This Sculpture is a big landmark in the St Helens area, and is very successful
in just one point stated by Whaling (2009, p.7) Dream affords

Massive local, regional, national and international press coverage; from April - June 2009
alone this amounted to 192 press articles with an AVE of £364,800, including double-page
spreads in The Guardian and Radio Times, plus articles in Indian, Canadian, and Middle
Eastern newspapers

But according to Whaling (2010) Jaune Plensa isn’t too keen on reaping the rewards of
this work he stated.

With regard to Dream, Jaume Plensa is content for 2D representations (e.g. postcards,
posters, t-shirts, mousemats etc.) to be made and commercially sold on the understanding
that any revenue generated will be used to pay for the maintenance of Dream and
invested in further public artworks. He has however expressly prohibited the creation of
any 3D figurines or statuettes out of a desire to preserve the integrity of the artwork and
on the basis that there is only one size Dream, i.e. the original sculpture itself.

Jaune Plensa is a well respected artist in the art world and the above comment shows
that there is a way in which an artist deals with the commercial success of a piece of
work to ensure that their credibility stays in tact. This strengthens the argument in
Jack’s case over reproductions due to the great success his paintings have developed.
Jack pushes the royalties to gain maximum financial benefits, and gives the impression
that he wants to make money and not preserve the integrity of his own work. It shows
that artists avoid being too commercially successful and that there seems to be a point
at which an artist who is accepted should stop on the royalty benefits, or at least in
some way redirected them elsewhere again showing them in a favourable light.
Looking at the comment by Whaling if the commercial success is managed in a more
understated way then success in the art world is a good thing; obviously every artist
wants to be a success amongst their peers. There is also evidence that success can
cause jealousy in the art world. In a letter written on www.painterskeys.com with
regards to professional jealously between artists Genn (2001, p.1) he states

…they're jealous of the success and talent of others. It happens everywhere--at art
schools, with the artist next door, even sharing the same studio. One woman wrote to say
that the envy she felt for her friend's paper tole drove her to stop working in the medium.

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This quote supports the fact that jealousy and envy are common throughout the art
world; it’s not an unusual thing to have some form of professional jealously. In fact in
one case I found an artist was made to feel uncomfortable amongst his peers when he
found himself in a successful situation Painterskeys (2001, p.1) stating

It makes me feel uncomfortable and I find myself going out of my way to prove what a nice
and helpful individual I am. I try to play down my successes and be a humble as I can.
What else can I do?

This also supports why the art critics look down on Jack and the lack of recognition
amongst other trained Scottish artists, they see him as a successful individual with no
common ground. They seem to take every opportunity to downgrade his work.
According to BBC (2002, p.1)

Duncan MacMillan, Professor of Scottish Art History at the University of Edinburgh, who
has described Vettriano's work as 'dim erotica'. Professer MacMillan's book, Scottish Art
1460 - 2000, grudgingly gives up one paragraph to mention Vettriano, but makes no room
for any of his work amongst the 370 images chronicling the period.

Jack himself once suggested (2007) the art establishment was jealous because he
came in through the "back door", perhaps suggesting a quicker easier way to success
emphasising the lack of training and time taken. During my research it has been really
difficult to find any quote from an art critic who actually likes Jack’s work.

The research then looked into the preferred pathway to success that the likes of Tracey
Emin and Damien Hirst have taken to have their work and themselves projected in what
the art world sees as the correct way. Classically trained in the first instance and then
propelled into the art world, when questioning on this during an interview Robinson
(2010) replied

Art is big business, young artists are selected and promoted very quickly like the YBA’s
the Young British Artist, the likes of Damien Hirst and Tracey Emin there are elements of
sensationalism in the work again that’s how they market themselves through shock tactic’s
but only to a point.

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Marketing through shock tactics is the key here, which are used to cause waves in the
art world. Tracey Emin Born 1963, London 1986 Maidstone College of Art (Bachelor of
Fine Art), 1989 Royal College of Art is probably best know for My Bed which depicts her
own unmade bed including condoms and period stained underwear. Big shock tactics
and a very personal look into her own life; something new. This is the route that Tracey
has taken but it’s not something a member of the public would have in their front room.
It proves the difference in the art world that there are two completely different art
markets Hewlett (224, p.1) states

There are two art worlds: the popular one which anyone can understand and the
academic one controlled by relatively few people. The latter has a very different approach
and tries to be sensational for the sake of it.

Damien Hirst also a classically trained artist who has produced truly shocking pieces of
work for example the shark in formaldehyde, as well as other dead animals marketed
himself initially with shock tactics. This seems to be the preferred route for new 21 st
Century artists. Art still being big business the art world has to be shocked in some new
way to first accept the artist who has to have classical training to back them up and the
art is classed as having an impact on popular culture. Their work is slightly toned down
and produced for the open market but not on the scale of Jack’s, not with the clear over
doing of the commercial reproductions. It’s obvious that Jack’s work doesn’t have a
shock impact on either culture or the art world; it’s classed as safe. According to Hewlett
(2004 cited in Smith 2004, p.1), ‘People understand less an unmade bed or a pickled
pig's head. There are no emperor's new clothes around Vettriano's paintings.’ and yet
Jack’s work is so popular the statements continues with ‘...we get 20 to 30 emails a day
from literally every corner of the world inquiring about his work.'

In an article on pop art there’s a mention of a museum for cultureless art perhaps this
would be the place for Jack’s art; a place for art that the public understand.

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Conclusions
Jack’s rise to fame was as stated a fairy tale story. He isn’t classically trained and from
what the art world see he got in easy producing works for the public market and not the
art critics or national galleries prefer pathway. He is said to be an illustrator and it
seems that every chance the art world gets to criticise his work there’s a lot of people
who jump at the chance. With this view still being of a strong nature I can’t see the art
world ever changing their minds. The National Galleries of Scotland may one day show
a Vettriano but I feel only under the pressure of the public and not through acceptance
of Jack’s work.

While Jack’s work is so popular this research goes to show that there are two art worlds
the public one and the art elite. Once you’re in the latter it seems all but impossible to
break into the second. Jack (2004 cited in Smith 2004, p.1) commented, ‘If they've
decided you fit what they like, you'll be in; if they've made up their minds otherwise, you
never will be. I appear to be in the latter category.’

There is clear snobbery and jealousy within the art world and success in certain areas is
frowned upon. I feel that while the void between the two gets bigger the art world
becomes smaller due to the growing number of people who prefer the understandable
art. Jack’s been named the ‘peoples painter’ due to his success in the public market
but I feel this just isn’t good enough for Jack and perhaps the yearning for acceptance
will alter his style in the future. In a statement Jack (2002 cited in BBC 2002, p.1)
‘Show me the artist,' he has said, ' who does not want to be recognised by his peers,
and I will show you a liar.'

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Bibliography:
Interviews
Robinson, W. Jack Vettriano. Interviewed by: Dawson, T. St Helens College, St Helens
U.K. (7 May 2010).

Whaling, J. Jaume Plensa Design Sculpture. Interviewed by: Dawson, T. Emailed

Interview (24 May 2010).

Wood, D. Jack Vettriano. Interviewed by: Dawson, T. Emailed Interview. (10 may 2010).

Books
Quinn, A. (2002), Lovers and Other Strangers, London: Pavilion Books Ltd.
Quinn, A. (2004), Jack Vettriano, London: Pavilion Books Ltd.
Rankin, I. (2008), Jack Vettriano Studio Life, London: Pavilion Books Ltd.
Smith, W.G. (2002), Fallen Angels, London:Pavilion Books Ltd.

Websites
Jack Vettriano, (n.y.) ‘Jack Vettriano’. Online. Jack Vettriano Website. Available:
http://www.jackvettriano.com/biography_test.php [26 April 2010]

Jack Vettriano, (n.y.) ‘Jack Vettriano’. Online. Jack Vettriano Website. Available:
http://www.jackvettriano.com/press.php [26 April 2010]

Liberty Galleries, (n.y.) ‘Jack Vettriano Biography ’. Online. Liberty Galleries. Available:
http://www.libertygalleries.co.uk/default.html?lang=en-uk&target=d64.html [9 May 2010]

Portland Gallery, (n.y.) ‘Jack Vettriano Biography ’. Online. Portland Gallery. Available:
http://www.portlandgallery.com/pages/artist/16356/biography/jack_vettriano.html [26
April 2010]

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News Scotsman, (2010) ‘Artist Jack Vettriano fails to seduce buyers’. Online. News
Scotsman. Available: http://news.scotsman.com/news/Artist-Jack-Vettriano-fails-
to.6251812.jp [26 April 2010]

News Scotsman, (2005) ‘Vettriano's works copied from illustrator's manual, it is

revealed’. Online. News Scotsman. Available:
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illustrators.2666486.jp [26 April 2010]

National Galleries of Scotland, (n.d.) ’Site Search on Jack Vettriano’. Online.National

Galleries of Scotland. Available: http://www.nationalgalleries.org/common/search/ [26
April 2010]

Facebook, (n.d.) ‘Jack Vettriano - Official Jack Vettriano Page’. Online.Facebook.

Available: http://www.facebook.com/pages/London-United-Kingdom/Jack-Vettriano-
Official-Jack-Vettriano-Page/210137085278 [26 April 2010]

Facebook, (n.d.) ‘Get Jack Vettriano work in the National Gallery of Scotland’.
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in-the-National-Gallery-of-Scotland/227107804697 [26 April 2010]

Times Online, (2007) ‘Because I’m Worth It’. Online Times Online. Available :
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Telegraph, (2009) ‘Jack Vettriano: I’ve gone from hand-me-downs to Armani’. Online.
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Vettriano-Ive-gone-from-hand-me-downs-to-Armani.html [10 May 2010]

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Telegraph, (2010) ‘Jack Vettriano: I don’t want to be remembered for The Singing
Butler’. Online. Telegraph. Available: http://www.telegraph.co.uk/culture/art/art-
news/7515303/Jack-Vettriano-I-dont-want-to-be-remembered-for-The-Singing-
Butler.html [10 May 2010]

Telegraph, (2009) ‘Jack Vettriano wins support from Sir Tom Farmer’. Online.
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Telegraph, (2009) ‘Dream, by Jaume Plensa: the new face of the North West’. Online.
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The Herald Scotland, (2010) ‘Move over Titian: Vettriano finally lined up for National
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Academia.edu, (n.d.) ‘Dave Wood About’. Online. Academia.edu. Avaialble:

http://gcal.academia.edu/DaveWood [10 May 2010]

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Fodor’s Forums, (2010) ‘What Do You Think of Jack Vettriano?’ Online. Fodor’s
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Mental Floss, (2008) ‘Hello Jack Vettriano’. Online.Mental Floss. Available:

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