Well, have you heard about the painter, Vincent van Gogh, Who loved colour and who let it show?*

Two significant exhibitions opened in London this week, both retrospectives of important artists that on the face of it have very little in common. The National Gallery is celebrating its 200^th anniversary and has chosen as its centrepiece event the work of Van Gogh from 1888-89. It is remarkable to consider that Van Gogh started painting in 1883 and died in 1890, a seven-year career. Two of those years were spent in Arles and at the asylum at St Remy de Provence, where he produced over 200 works, 60 of which are on display at the National Gallery, this was a particularly productive time.

Not far away at the Royal Academy the main galleries have been opened up to Michael Craig-Martin for a major retrospective of his 60-year career. The exhibition is chronological, starting with his minimalist and “conceptual” work and ending with a brand new animated multi-media room. Along the way we see how his familiar language of everyday objects and colour develops. We had the privilege of working with Michael on a restaurant interior in Lower Regent Street for Chris Corbin and Jeremy King back in 2006. St Alban is no longer, it was, in hindsight, ahead of its time, but it is still one of my favourite Stiff+Trevillion restaurant projects.

The differences between these two artists, who practice a century apart, are superficially obvious. Craig-Martin’s works are as flat as is possible, either painted on aluminium panels or applied directly to the wall with tape. There is no depth of surface, no shadow, the object is flattened and abstracted but nevertheless still recognisable. Van Gogh uses paint three dimensionally, his impasto adds depth, movement and shadow to the surface of the canvass. His work is atmospheric and often emotional. They are therefore fundamentally different artists, and it seems illogical to even compare their work. However, I could not help feeling that the gulf between them may not be as big as it first appears.

• Both artists use colour in ways that are unexpected, Craig-Martin’s palette is not representational of the objects he draws. Look closely at Van Goghs paintings and he too uses colour in unexpected ways, paths are lilac, mountains blue, scarlet appears in the sunflowers.

• Both artists use a dark outline, something that in reality does not exist, it is the construct of drawing.

• Both artists have an interest in the chair, Van Gogh’s chair is as iconic as his Sunflowers or Irises. I am sure it was the very ordinariness of the chair that inspired his interest, with his pipe and tobacco on the seat it almost becomes a self-portrait. Craig Martin has often talked of the chair as a universally recognised object that most of us interact with every day, and he has explored chairs in his drawings for much of his later career, “Of all the things I’ve drawn, to me chairs are one of the most interesting”. His images of Mies van der Rohe’s Barcelona chair are particularly memorable.

• Both artists embrace the still life as subject matter.

These are two fascinating and unique exhibitions. It is unlikely that these Van Gogh’s will ever be seen together again in one place, many are from private collections, and it is unlikely that we will see a comprehensive review on this scale of Michael Craig– Martin’s career for some time. I recommend seeing both excellent and rewarding shows.

Well, have you heard about the painter, Vincent van Gogh
Who loved colour and who let it show? Lyrics courtesy of Jonathan Richman and the Modern Lovers, Vincent Van Gogh 1985