Banksy’s biting parody of Scottish painter Jack Vettriano, whose romanticised and sentimental style "epitomised by The Singing Butler" has made him one of Britain’s best-selling but critically divisive artists.

In Banksy’s version, the elegance and glamour of Vettriano’s ballroom dancers on the beach are undercut by a pair of uniformed hooligans holding their drinks, leering and intruding on the refined scene. The juxtaposition collapses the line between “high” and “low” culture, mocking both the aspirational kitsch of Vettriano’s imagery and society’s tendency to consume art as decoration rather than critique.

Exhibited as part of Banksy’s Crude Oils: A Gallery of Remixed Masterpieces, Vandalism and Vermin in Notting Hill, the piece was one of many modified oil paintings where Banksy bought traditional canvases from flea markets and “vandalised” them with his own stencilled interventions. By inserting contemporary figures of social decay into a genteel composition, Banksy makes a sharp commentary on class, taste, and the commodification of art.