ART Dogs in Art

DOGS in art

Captivating images of dogs created by artists through the ages

words edel cassidy

Every dog lover knows that nothing compares to the unconditional love offered by our precious four-legged friends. But have our beloved pooches always been our best friends? The answer is yes! And the proof is well documented in the history of art.

From ancient times artists have shown their admiration and respect for canines by drawing, painting and sculpting their likenesses. These charming works of art offer a historical perspective on our valued relationship with this much-cherished animal.

Miss Beatrice Townsend 1882, John Singer Sargent Collection of Mr and Mrs Paul Mellon, National Gallery of Art, Washington, D. C. Oil on Canvas

The subject’s father, Mr John Joseph Townsend, was a politician and a New York attorney, and her mother, Catherine Rebecca Bronson, was a close friend to the artist.

This is one of John Singer Sargent’s earliest portraits and children continued to appear frequently in his paintings throughout his career. He liked to create the impression of individuality, through the pose, lighting, and setting, in addition to the facial expression of his young sitters. He sought to portray them as unique personalities rather than as visual stereotypes of childhood.

In this portrait, he brings out great detail of the subject’s individuality by including her favourite pet, which she clutches to the side. He captures the self-possession and confidence of the young girl as she gazes at the artist directly. Sadly, only two years after this painting was completed, Beatrice died of peritonitis at age fourteen.

Cave Canem Second century BC Entrance to the House of the Tragic Poet, Pompeii, Italy Roman Mosaic

One of the most recognised symbols of the archaeological site of Pompeii is this tile mosaic with the inscription ‘Cave Canem’, Latin for ‘Beware of the dog’.

The mosaic picture of a domesticated dog, leashed and chained, served as protection over the more private quarters of the House of the Tragic Poet, a second century BC Roman home. It is one of the most famous buildings in Pompeii thanks to its elaborate mosaic floors and frescoes depicting scenes from Greek mythology.

With his black hair, curled form, and bared teeth, this ancient canine has stood ready for 2,000 years to discourage intruders. Following years of neglect, with accumulating mud and dirt, the mosaic was gradually cleaned and restored. In 2015 it was put on display, protected beneath a glass shield, for the public to view.

The Broken String 1887, Charles Burton Barber Private Collection Oil on Canvas

Regarded as one of Britain’s finest animal painters, Charles Burton Barber attained great success with his paintings that captured the special bond between children and their pets.

He had a particular talent for sentimental portraits of dogs, which helped win royal commissions from animal-lover Queen Victoria. At least five of his works remain in The Royal Collection, where they are held in trust.

A great devotee of the Highlands, his greatest love was of painting the natural world, deer in particular. Had he not had a family to support, he may have stayed on that path and not produced the many wonderfully charming portraits of young children and animals that we have come to love.

Depicted here, the little violinist focuses on playing her instrument while her pet Jack Russell terrier howls in accompaniment and her little kitten plays with a broken string.

Five Eldest Children of Charles I 1637, Anthony van Dyck Queen’s Gallery, Windsor Castle Oil on Canvas

The five children of Charles I are shown left to right: Princess Mary, James, Duke of York (later James II), Prince Charles (later Charles II), Princess Elizabeth and, in her sister’s lap, Princess Anne. The future Charles II rests his hand on the head of an enormous mastiff. The mastiff had been a guard dog since Roman times and appears here as a protector for the royal children at a time of civil unrest. Nonetheless, the position of the young Prince’s hand suggests that he is capable of ruling this powerful beast and, by implication, his country. There is also a small ‘King Charles’ spaniel at the right. This was an immensely popular composition and was copied many times. Van Dyck’s relatively informal group of royal children contrasts markedly with the stiff, formal portraits of a generation earlier.

Courbet with a Black Dog 1842, Gustave Courbet Petit Palais Museum of Fine Arts, Paris Oil on Canvas

This is one of the earliest paintings by Gustave Courbet and was the start of a lifelong series of what some critics considered narcissistic self-portraits that depicted the artist in a variety of poses and settings.

The composition in this painting is very typical of his early work when he travelled the French countryside in search of subjects to depict with little more than a sketchbook and his dog to accompany him. His facial expression oozes self-confidence, something that he was never lacking, even at this early age.

It is sometimes said that dogs physically resemble their owners. Here we see a striking harmony as the dog’s wavy hair appears to emulate the curly locks of the artist.

This work was accepted for exhibition at the 1844 Paris Salon, ending a run of rejections that had previously frustrated Courbet.

His Master’s Voice 1898, Francis Barraud Oil on Canvas

One of the best-known trademarks in the world comes from this painting by the English artist Francis Barraud. When his first master Mark Barraud died, the featured dog, a terrier named Nipper, went to live with Mark’s younger brothers, Francis and Phillip.

Francis also inherited a cylinder phonograph and recordings of Mark’s voice and noticed how puzzled Nipper was when he heard the recorded voice of his late master. The scene must have been indelibly printed in Barraud’s mind because it was three years after Nipper’s death that he decided to paint the curious little dog staring into the phonograph.

William Barry Owen, the American founder of the Gramophone Company in England, offered to purchase the painting on the condition that Barraud modify it to show one of their disc machines. Barraud was paid £50 for the painting and a further £50 for the copyright.