Peter Doig's series of paintings inspired by Le Corbusier's architectural masterpiece, l'Unité d'Habitation in Briey-en-Forêt, France, represents a pivotal exploration of modernist themes within the context of contemporary painting. After his graduation from the Chelsea College of Arts, Doig received the Whitechapel Artist Prize, leading to a solo exhibition at the Whitechapel Art Gallery in 1991. It was around this time that Doig created his series on Le Corbusier’s modernist communal living apartments, showcasing his deep engagement with the physical and cultural dimensions of architecture. Doig was involved with a group of architects and artists operating from the building, and his work from this period reflects a fascination with the juxtaposition of urban structures against the natural environment that surrounds them. The series features modern urban structures that are both revealed and obscured by the forest, emphasizing the interplay between man-made creations and the organic world​ (www.wikiart.org)​.

In the broader context of British art in the 1990s, Doig carved out a unique path. He eschewed the dominant trends of minimalism, Neo-Geo, and conceptualism that characterized the London art scene, instead finding success through a deeply personal and introspective approach to painting. Among the works produced for the 1991 Whitechapel exhibition was "The Architect’s Home in the Ravine," a piece not directly part of the Le Corbusier series but sharing thematic concerns with architecture and nature. This work, a depiction of architect Eberhard Zeidler’s modernist home, captures the essence of Doig’s visit in vivid and dynamic paint, echoing the thematic exploration seen in his Le Corbusier series. This era of Doig's work, including the "Concrete Cabin" paintings inspired by Le Corbusier's Unité d'Habitation, is considered his classic period, characterized by architectural motifs glimpsed through trees​ (Christie's)​.

Doig's Le Corbusier paintings, along with other works from this period, showcase his exceptional ability to blend memory, photographic images, and a profound sense of place to create paintings that transcend their subjects. These works are not just architectural studies but are deeply imbued with a sense of memory and atmosphere, inviting viewers into a meditative engagement with both the physical and psychological landscapes they portray. Through this series, Doig reaffirms his position as a master of contemporary painting, capable of weaving together complex narratives that explore the intersections of history, culture, and personal memory.