David Shrigley Exhibition Pairs Art With Old Masters

British contemporary artist David Shrigley will present a major solo exhibition at London's Dulwich Picture Gallery, where his distinctive artistic style and signature humour will be placed in dialogue with renowned old masters of Dutch and Flemish painting. The exhibition, scheduled to open on August 19, 2026, aims to explore the connections and contrasts between Shrigley's modern creations and the 17th-century masterpieces. Shrigley's new works will be "responding to" and hung adjacent to original paintings by celebrated artists such as Jan Steen, Adriaen Brouwer, David Teniers the Younger, Adriaen van Ostade, Pieter Brueghel the Younger, and Rembrandt van Rijn. This juxtaposition is intended to offer a fresh perspective on both the historical artworks and Shrigley's contemporary artistic practice. The Dulwich Picture Gallery, established in 1811, is known for its significant collection of European paintings, particularly from the Dutch Golden Age, making it a fitting venue for this cross-temporal artistic conversation. Shrigley, who gained prominence for his drawings, prints, and sculptures that often feature a deadpan, absurdist wit, is expected to bring his unique sensibility to bear on the themes and techniques of these historical painters. The exhibition will allow visitors to engage with the familiar narratives and artistic conventions of the old masters through the lens of a contemporary artist known for his subversion and playful commentary. The selection of works by Steen, Brouwer, Teniers, van Ostade, Brueghel the Younger, and Rembrandt represents a diverse range of subjects and styles from the Dutch and Flemish Golden Age, including genre scenes, portraits, and landscapes. By presenting Shrigley's art in direct proximity to these influential pieces, the exhibition seeks to provoke contemplation on the enduring nature of artistic expression and the evolution of humour and social commentary in art across centuries. The exhibition promises to be a significant event in London's art calendar, drawing attention to the gallery's collection and offering a novel experience for art enthusiasts and Shrigley's existing fanbase alike. The specific curation will likely highlight Shrigley's ability to find the funny side in the profound and the everyday, mirroring the often anecdotal and character-driven nature of 17th-century Dutch and Flemish genre painting. This approach challenges traditional art historical interpretations by introducing a contemporary, often irreverent, voice into the discourse surrounding canonical works.