File:Paul Winstanley Situation 3.jpg

Painting by Paul Winstanley, Situation 3 (oil on gesso panel, 80cm x 86cm, 2020). The image illustrates a key later body of work in Paul Winstanley's career from the latter 2010s and 2020s: his series of paintings depicting viewers observing paintings, which continued to pursue his interests in processes of observation and depiction. These works include the "Apostasy" and (as in this work) the "Situation" series. The paintings portray scenes of paintings in museums or galleries glimpsed from behind viewers who are often in motion. The ephemerality of the sometimes-blurred figures contrasts with the fixed artworks, while the frame-within-a-frame presentation offers a "Chinese box"-like effect of viewership. Works in this series were publicly exhibited in prominent exhibitions, discussed in art journals and press publications.

Artist Paul Winstanley. Copyright held by the artist.

Paul Winstanley

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key later body of work in Paul Winstanley's career dating from the latter 2010s and early 2020s, when he produced several series of paintings depicting viewers observing paintings, including the "Apostasy" and "Situation" series. The paintings portray scenes of paintings in museums or galleries glimpsed from behind viewers, some of whom were moving and blurred as though by a long photographic exposure. The ephemerality of the figures is contrasted with the static presentation of the artworks and creates what critics described as a "Chinese box" effect regarding the act of viewing. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to understand this major later body of work, which brought Winstanley ongoing recognition through prominent exhibitions and coverage by major critics and publications. Winstanley's work of this type and this series is discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Paul Winstanley, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general working of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.