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[[File:After the Hunt LACMA M.72.103.1.jpg|thumb|280px|''After the hunt'', 1870, by [[David Dalhoff Neal|David Neal]] (1838–1915)]]
[[File:After the Hunt LACMA M.72.103.1.jpg|thumb|280px|''After the hunt'', 1870, by [[David Dalhoff Neal|David Neal]] (1838–1915)]]


'''Cultural depictions of dogs''' in art has become more elaborate as individual breeds evolved and the relationships between human and canine developed. [[Hunting]] scenes were popular in the [[Middle Ages]] and the [[Renaissance]]. Dogs were depicted to symbolize [[Guide|guidance]], [[protection]], [[loyalty]], [[fidelity]], [[faithfulness]], [[alertness]], and [[love]].<ref>{{cite web|url=http://www.incredibleart.org/lessons/middle/animals2.htm|title=Animal Symbolism in Many Cultures}}</ref>
'''Cultural depictions of dogs''' in art has become more elaborate as individual breeds evolved and the relationships between human and canine developed. [[Hunting]] scenes were popular in the [[Middle Ages]] and the [[Renaissance]]. [[Dogs]] were depicted to symbolize [[Guide|guidance]], [[protection]], [[loyalty]], [[fidelity]], [[faithfulness]], [[alertness]], and [[love]].<ref>{{cite web|url=http://www.incredibleart.org/lessons/middle/animals2.htm|title=Animal Symbolism in Many Cultures}}</ref>


As dogs became more domesticated, they were shown as [[Pet|companion animals]], often painted sitting on a lady's [[lap]]. Throughout [[art history]], mainly in [[Western art]], there is an overwhelming presence of dogs as [[status symbol]]s and pets in painting. The dogs were brought to houses and were allowed to live in the house. They were cherished as part of the family, and were regarded highly by the [[upper class]]es, who used them for [[hunting]] and could afford to feed them. [[Hunting dog]]s were generally connected to the [[aristocracy]]. Only the [[nobility]] were allowed to keep hunting dogs, and this would signal status.
As dogs became more domesticated, they were shown as [[Pet|companion animals]], often painted sitting on a lady's [[lap]]. Throughout [[art history]], mainly in [[Western art]], there is an overwhelming presence of dogs as [[status symbol]]s and pets in painting. The dogs were brought to houses and were allowed to live in the house. They were cherished as part of the family, and were regarded highly by the [[upper class]]es, who used them for [[hunting]] and could afford to feed them. [[Hunting dog]]s were generally connected to the [[aristocracy]]. Only the [[nobility]] were allowed to keep hunting dogs, and this would signal status.

Dogs are unusual in Christian religious art, but the [[New Testament]] subject of the ''[[Exorcism of the Syrophoenician woman's daughter]]'' and the [[Old Testament]] one of ''[[Tobias and the Angel]]'' are exceptions, as they are mentioned in the texts, and depictions often include them.


Dog portraits became increasingly popular in the 18th century, and the establishment of [[The Kennel Club]] in the [[United Kingdom of Great Britain and Ireland]] in 1873, and the [[American Kennel Club]] in 1884 introduced [[Breed standard (dogs)|breed standards]] or 'word pictures', which further encouraged the popularity of dog portraiture.
Dog portraits became increasingly popular in the 18th century, and the establishment of [[The Kennel Club]] in the [[United Kingdom of Great Britain and Ireland]] in 1873, and the [[American Kennel Club]] in 1884 introduced [[Breed standard (dogs)|breed standards]] or 'word pictures', which further encouraged the popularity of dog portraiture.


==Early history==
==Early history==

[[File:Wall painting - Selene and Endymion - Pompeii (VI 9 6-7) - Napoli MAN 9240.jpg|thumb|Painting, [[Endymion (mythology)|Endymion]] and [[Selene]] with a dog, "House of the Dioscuri", [[Pompeii]]]]
[[File:Western Han Pottery Dog.jpg|thumb|[[Han dynasty]] ceramic dog]]
[[File:Chou Fang 003.jpg|thumb|Court ladies playing with a small dog, ''Beauties Wearing Flowers'' by [[Tang Dynasty]] painter [[Zhou Fang (Tang Dynasty)|Zhou Fang]]]]
There are illustrations of dogs on the walls of tombs dating back to the [[Bronze Age]], as well as statues, children's toys, and ceramics depicting dogs. Hunting dogs are commonly portrayed.<ref name="Encyclopædia Britannica">{{cite web|title=Dog|url=http://library.eb.co.uk/eb/article-15457|publisher=[[Encyclopædia Britannica]]|accessdate=24 September 2013}} log in required</ref> One of the prehistoric paintings estimated to be 9,000 years old found at the [[Bhimbetka rock shelters]] in India depict a dog held on a [[leash]] by a man.<ref>{{cite book|title=Sacred Animals of India|page=101|first=Nanditha|last=Krishna|publisher=Penguin}}</ref> Rock art of [[Tassili n'Ajjer]] also include depictions that are highly suggestive of dogs.<ref>{{cite book|title=The Lost History of the Canine Race: Our 15,000-year Love Affair with Dogs|first=Mary Elizabeth|last=Thurston|page=13}}</ref><ref>{{cite book|title=Enduring Treasures: National Parks of the World|publisher=National Geographic Society|page=143}}</ref>
There are illustrations of dogs on the walls of tombs dating back to the [[Bronze Age]], as well as statues, children's toys, and ceramics depicting dogs. Hunting dogs are commonly portrayed.<ref name="Encyclopædia Britannica">{{cite web|title=Dog|url=http://library.eb.co.uk/eb/article-15457|publisher=[[Encyclopædia Britannica]]|accessdate=24 September 2013}} log in required</ref> One of the prehistoric paintings estimated to be 9,000 years old found at the [[Bhimbetka rock shelters]] in India depict a dog held on a [[leash]] by a man.<ref>{{cite book|title=Sacred Animals of India|page=101|first=Nanditha|last=Krishna|publisher=Penguin}}</ref> Rock art of [[Tassili n'Ajjer]] also include depictions that are highly suggestive of dogs.<ref>{{cite book|title=The Lost History of the Canine Race: Our 15,000-year Love Affair with Dogs|first=Mary Elizabeth|last=Thurston|page=13}}</ref><ref>{{cite book|title=Enduring Treasures: National Parks of the World|publisher=National Geographic Society|page=143}}</ref>
The Ancient Greeks and Romans, contrary to the Semitic cultures, favored dogs as pets, valuing them for their faithfulness and courage; they were often seen on Greek and Roman reliefs and ceramics as symbols of fidelity.<ref>{{cite web|url=https://penelope.uchicago.edu/Thayer/E/Journals/CJ/44/4/Household_Pets*.html|title=Greek and Roman Household Pets — CJ 44:245‑252 and 299‑307 (1949)|last=|first=|date=|website=|publisher=penelope.uchicago.edu|url-status=live|archive-url=|archive-date=|accessdate=2020-01-10}}</ref> Dogs were given as gifts among lovers and kept as pets, guardians, and for hunting. Dogs were appreciated by the Greeks for their faith and love. [[Homer]]'s [[Odyssey]] tells the story of [[Odysseus]], who raised a dog called [[Argos, Peloponnese|Argos]], and who was the only one that recognized him when he returned home after his travels, disguised to concealed his appearance. This theme has been often depicted in ancient Greek vases.<ref>{{cite web|url=http://www.penn.museum/documents/publications/expedition/PDFs/53-3/kitchell.pdf|title=Pets of Ancient Greeks|last=|first=|date=|website=|publisher=www.penn.museum|url-status=live|archive-url=|archive-date=|accessdate=2020-01-10}}</ref>
The Ancient Greeks and Romans, contrary to the Semitic cultures, favored dogs as pets, valuing them for their faithfulness and courage; they were often seen on Greek and Roman reliefs and ceramics as symbols of fidelity.<ref>{{cite web|url=https://penelope.uchicago.edu/Thayer/E/Journals/CJ/44/4/Household_Pets*.html|title=Greek and Roman Household Pets — CJ 44:245‑252 and 299‑307 (1949)|last=|first=|date=|website=|publisher=penelope.uchicago.edu|accessdate=2020-01-10}}</ref> Dogs were given as gifts among lovers and kept as pets, guardians, and for hunting. Dogs were appreciated by the Greeks for their faith and love. [[Homer]]'s [[Odyssey]] tells the story of [[Odysseus]], who raised a dog called [[Argos (dog)|Argos]], and who was the only one that recognized him when he returned home after his travels, disguised to conceal his appearance. This theme has been often depicted in ancient Greek vases.<ref>{{cite web|url=http://www.penn.museum/documents/publications/expedition/PDFs/53-3/kitchell.pdf|title=Pets of Ancient Greeks|last=|first=|date=|website=|publisher=www.penn.museum|accessdate=2020-01-10}}</ref>


The ancient Romans kept three types of dogs: hunting dogs, especially [[sighthound]]s; [[Molossus (dog)|Molossus]] dogs like the [[Neapolitan Mastiff]], often depicted in reliefs and mosaics with the words "Cave Canem"; and small companion dogs like the [[Maltese (dog)|Maltese]], used as women's [[lap dog]]s. Greyhounds were often represented as sculptures. Large dogs were used in war by the Roman army, arranged in attack formation, or for wolf-hunting on horseback, which was a popular sport.<ref>{{cite web|url=http://www.societasviaromana.net/Collegium_VitaQuotidiana/pets.php|title=Pets in Ancient Rome|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|accessdate=2020-01-10}}</ref><ref>{{cite web|url=http://www.explore-italian-culture.com/ancient-roman-animals.html|title=Ancient Roman Animals|last=|first=|date=|website=|publisher=explore-italian-culture.com|url-status=live|archive-url=|archive-date=|accessdate=2020-01-10}}</ref><ref>{{cite web|url=http://penelope.uchicago.edu/~grout/encyclopaedia_romana/miscellanea/canes/canes.html|title=Dogs in Ancient Greece and Rome|last=|first=|date=|website=|publisher=penelope.uchicago.edu|url-status=live|archive-url=|archive-date=|accessdate=2020-01-10}}</ref>
The ancient Romans kept three types of dogs: hunting dogs, especially [[sighthound]]s; [[Molossus (dog)|Molossus]] dogs like the [[Neapolitan Mastiff]], often depicted in reliefs and mosaics with the words "Cave Canem"; and small companion dogs like the [[Maltese (dog)|Maltese]], used as women's [[lap dog]]s. Greyhounds were often represented as sculptures. Large dogs were used in war by the Roman army, arranged in attack formation, or for wolf-hunting on horseback, which was a popular sport.<ref>{{cite web|url=http://www.societasviaromana.net/Collegium_VitaQuotidiana/pets.php|title=Pets in Ancient Rome|last=|first=|date=|website=|accessdate=2020-01-10}}</ref><ref>{{cite web|url=http://www.explore-italian-culture.com/ancient-roman-animals.html|title=Ancient Roman Animals|last=|first=|date=|website=|publisher=explore-italian-culture.com|accessdate=2020-01-10}}</ref><ref>{{cite web|url=http://penelope.uchicago.edu/~grout/encyclopaedia_romana/miscellanea/canes/canes.html|title=Dogs in Ancient Greece and Rome|last=|first=|date=|website=|publisher=penelope.uchicago.edu|accessdate=2020-01-10}}</ref>


<gallery widths="150" heights="150" perrow="4">
<gallery mode="packed" heights="150">
File:Wall painting - Selene and Endymion - Pompeii (VI 9 6-7) - Napoli MAN 9240.jpg|Painting, [[Endymion (mythology)|Endymion]] and [[Selene]] with a dog, "House of the Dioscuri", [[Pompeii]]
File:Green glazed pottery dog Eastern Han 25CE 220CE.jpg|Glazed ceramic dog, collar patterned onto the surface; [[Han Dynasty|Eastern Han]], 1st century CE.
File:Western Han Pottery Dog.jpg|Han dynasty terracotta dog, tomb figurine, 1st century BCE.
File:Chou Fang 003.jpg|Court ladies playing with a small dog, ''Beauties Wearing Flowers'' by [[Tang dynasty]] painter [[Zhou Fang (Tang dynasty)|Zhou Fang]]
File:T16.5Hekate.jpg|Image of a goddess identified as [[Hecate]] or [[Artemis]] alongside a dog ([[Archaic Greece]])
File:T16.5Hekate.jpg|Image of a goddess identified as [[Hecate]] or [[Artemis]] alongside a dog ([[Archaic Greece]])
File:Greek terracotta statue dog with pray Staatliche Antikensammlungen SL 120.jpg|Greek terracotta statue dog with puppy
File:Greek terracotta statue dog with pray Staatliche Antikensammlungen SL 120.jpg|Greek terracotta statue dog with puppy
File:Dog sign IMG 4316.JPG|A pet dog's footprint and small sculpture on a Roman terracotta
File:Dog sign IMG 4316.JPG|A pet dog's footprint and small sculpture on a Roman terracotta
File:Riders Leagros Group Louvre CA4716 n2.jpg|Riders and dogs. [[Ancient Greece|Ancient Greek]] Attic [[Black-figure pottery|black-figure]] [[hydria]], ca. 510–500 BC, from [[Vulci]]. [[Louvre]] Museum, Paris.
File:Riders Leagros Group Louvre CA4716 n2.jpg|Riders and dogs. [[Ancient Greece|Ancient Greek]] Attic [[Black-figure pottery|black-figure]] [[hydria]], ca. 510–500 BC, from [[Vulci]]. [[Louvre]] Museum, Paris.
File:Youth horse dog BM Sc2206.jpg|Roman artwork inspired by Greek classical models, ca. 125 AD. From the Villa Adriana, near Tivoli.
File:Youth horse dog BM Sc2206.jpg|Roman artwork inspired by Greek classical models, ca. 125 AD. From the [[Hadrian's Villa|Villa Adriana]], near Tivoli.
File:Roman terracotta dog.jpg|Roman terracotta dog
File:Roman terracotta dog.jpg|Roman terracotta dog
File:Pompeii - Casa di Paquius Proculus - Watchdog.jpg|[[Cave canem]]! Watchdog from Casa di Paquius Proculus, Pompeii
File:Pompeii - Casa di Paquius Proculus - Watchdog.jpg|[[Cave canem]]! Watchdog from the House of Paquius Proculus, Pompeii
File:Pectoral cameo of dog - Roman.JPG|Roman [[cameo (carving)|cameo]] of dog
File:Pectoral cameo of dog - Roman.JPG|Roman [[cameo (carving)|cameo]] of dog
File:Greyhounds playing, Vatican.jpg|Statue of Roman sight-hounds
File:Greyhounds playing, Vatican.jpg|Statue of Roman sight-hounds
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Generally, dogs symbolize [[faith]] and loyalty.<ref name="Hall1979">{{citation|last=Hall|first=James|title=Dictionary of Subjects and Symbols in Art|url=https://books.google.com/books?id=fLjd0fyT0_IC|year=1979|publisher=Harper & Row|isbn=978-0-06-430100-8}}</ref> A dog, when included in an [[allegory|allegorical]] painting, portrays the attribute of [[fidelity]] personified.<ref>{{cite book|last=Kleiner|first=Fred S.|title=Gardner's Art through the Ages: The Western Perspective|year=2009|publisher=Wadsworth Publishing Company|pages=402}}</ref> In a portrait of a married couple, a dog placed in a woman's lap or at her feet can represent marital fidelity. If the portrait is of a widow, a dog can represent her continuing faithfulness to the memory of her late husband.<ref name="Hall1979" />
Generally, dogs symbolize [[faith]] and loyalty.<ref name="Hall1979">{{citation|last=Hall|first=James|title=Dictionary of Subjects and Symbols in Art|url=https://books.google.com/books?id=fLjd0fyT0_IC|year=1979|publisher=Harper & Row|isbn=978-0-06-430100-8}}</ref> A dog, when included in an [[allegory|allegorical]] painting, portrays the attribute of [[fidelity]] personified.<ref>{{cite book|last=Kleiner|first=Fred S.|title=Gardner's Art through the Ages: The Western Perspective|year=2009|publisher=Wadsworth Publishing Company|pages=402}}</ref> In a portrait of a married couple, a dog placed in a woman's lap or at her feet can represent marital fidelity. If the portrait is of a widow, a dog can represent her continuing faithfulness to the memory of her late husband.<ref name="Hall1979" />


An example of a dog representing marital fidelity is present in Jan van Eyck's ''[[Arnolfini Portrait]]''. An oil painting on [[oak]] [[Panel painting|panel]] dated 1434 by the [[Early Netherlandish painting|Early Netherlandish painter]] [[Jan van Eyck]], it is a small full-length double portrait,<ref name="ReferenceA">[[Erwin Panofsky]] published an article entitled ''Jan van Eyck's 'Arnolfini' Portrait'' in the ''[[Burlington Magazine]] 1934</ref> which is believed to represent the Italian merchant [[Giovanni Arnolfini|Giovanni di Nicolao Arnolfini]] and his wife,<ref>Stockstad Cothren</ref> presumably in their home in the [[Flanders|Flemish]] city of [[Bruges]]. The little dog symbolizes faithfulness, devotion or [[loyalty]],<ref name="ReferenceA"/> or can be seen as an emblem of [[lust]], signifying the couple's desire to have a child.<ref>{{cite book|title=Jan Van Eyck: The Play of Realism|pages=20–50|first=Craig|last=Harbison|publisher=Reaktion Books|year=1995}}</ref> Unlike the couple, the dog looks out to meet the gaze of the viewer.<ref>Harbison, Craig, ''Jan van Eyck, The Play of Realism'', Reaktion Books, London, 1991, {{ISBN|0-948462-18-3}} pp. 33–34</ref> The dog could also be simply a lap dog, a gift from husband to wife. Many wealthy women in the court had lap dogs as companions, reflecting wealth or social status.<ref>Harbison, Craig, "Sexuality and social standing in Jan van Eyck's Arnolfini double portrait", ''Renaissance Quarterly'', volume 43, issue 2, p. 270, Summer 1990, [https://www.jstor.org/pss/2862365 JSTOR]</ref>
An example of a dog representing marital fidelity is present in Jan van Eyck's ''[[Arnolfini Portrait]]''. An oil painting on [[oak]] [[Panel painting|panel]] dated 1434 by the [[Early Netherlandish painting|Early Netherlandish painter]] [[Jan van Eyck]], it is a small full-length double portrait,<ref name="ReferenceA">[[Erwin Panofsky]] published an article entitled ''Jan van Eyck's 'Arnolfini' Portrait'' in the ''[[Burlington Magazine]]'' 1934</ref> which is believed to represent the Italian merchant [[Giovanni Arnolfini|Giovanni di Nicolao Arnolfini]] and his wife,<ref>Stockstad Cothren</ref> presumably in their home in the [[Flanders|Flemish]] city of [[Bruges]]. The little dog symbolizes faithfulness, devotion or [[loyalty]],<ref name="ReferenceA"/> or can be seen as an emblem of [[lust]], signifying the couple's desire to have a child.<ref>{{cite book|title=Jan Van Eyck: The Play of Realism|pages=20–50|first=Craig|last=Harbison|publisher=Reaktion Books|year=1995}}</ref> Unlike the couple, the dog looks out to meet the gaze of the viewer.<ref>Harbison, Craig, ''Jan van Eyck, The Play of Realism'', Reaktion Books, London, 1991, {{ISBN|0-948462-18-3}} pp. 33–34</ref> The dog could also be simply a lap dog, a gift from husband to wife. Many wealthy women in the court had lap dogs as companions, reflecting wealth or social status.<ref>Harbison, Craig, "Sexuality and social standing in Jan van Eyck's Arnolfini double portrait", ''Renaissance Quarterly'', volume 43, issue 2, p. 270, Summer 1990, [https://www.jstor.org/pss/2862365 JSTOR]</ref>
During the Middle Ages, images of dogs were often carved on tombstones to represent the deceased's feudal loyalty or marital fidelity.<ref>{{cite book|last=Keister|first=Douglas|title=Stories in Stone: A Field Guide to Cemetery Symbolism and Iconography|year=2004|publisher=Gibbs Smith|location=Salt Lake City, UT|pages=72}}</ref>
During the Middle Ages, images of dogs were often carved on tombstones to represent the deceased's feudal loyalty or marital fidelity.<ref>{{cite book|last=Keister|first=Douglas|title=Stories in Stone: A Field Guide to Cemetery Symbolism and Iconography|year=2004|publisher=Gibbs Smith|location=Salt Lake City, UT|pages=72}}</ref>


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[[File:ST. Eustachius.jpg|thumb|150px|[[Pisanello]] (1395–1455), hunting scene with dogs (''The Vision of St. Eustachius'')]]
[[File:ST. Eustachius.jpg|thumb|150px|[[Pisanello]] (1395–1455), hunting scene with dogs (''The Vision of St. Eustachius'')]]


Hunting dogs are seldom seen depicted in the company of [[cleric]]s, due to a prohibition of the activity decreed by the [[Fourth Council of the Lateran]], held under [[Pope Innocent III]].
Hunting dogs are seldom seen depicted in the company of [[cleric]]s, due to a prohibition of the activity decreed by the [[Fourth Council of the Lateran]], held under [[Pope Innocent III]].


=== In heraldry===
=== In heraldry===
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[[File:Coa Hungary Town Ebes.svg|thumb|120px|Coats of arms of the Hungarian town [[Ebes]]]]
[[File:Coa Hungary Town Ebes.svg|thumb|120px|Coats of arms of the Hungarian town [[Ebes]]]]
[[File:Tottijärvi.vaakuna.svg|thumb|120px|Coat of arms of the former Finnish municipality [[Tottijärvi]]]]
[[File:Tottijärvi.vaakuna.svg|thumb|120px|Coat of arms of the former Finnish municipality [[Tottijärvi]]]]
As the aristocracy often utilized hunting dogs, dogs were shown as symbols in heraldry. In the late [[Middle Ages]] and the [[Renaissance]], [[heraldry]] became a highly developed discipline. Dogs of various types, and occasionally of specific breeds, occur as [[Charge (heraldry)|charges]] and [[supporter]]s in many [[coat of arms|coats of arms]], and often symbolise courage, vigilance, loyalty and fidelity.<ref>[https://web.archive.org/web/20120304224608/http://www.scottish-wedding-dreams.com/heraldic-animals.html ~ Heraldry Symbols]</ref>
As the aristocracy often used hunting dogs, dogs were shown as symbols in heraldry. In the late [[Middle Ages]] and the [[Renaissance]], [[heraldry]] became a highly developed discipline. Dogs of various types, and occasionally of specific breeds, occur as [[Charge (heraldry)|charges]] and [[supporter]]s in many [[coat of arms|coats of arms]], and often symbolise courage, vigilance, loyalty, and fidelity.<ref>[https://web.archive.org/web/20120304224608/http://www.scottish-wedding-dreams.com/heraldic-animals.html ~ Heraldry Symbols]</ref>


Three [[encaustic tile]]s dating from the 15th century feature a white hound, the Talbot family crest and the inscription "Sir John Talbot" (the [[John Talbot, 1st Earl of Shrewsbury|1st Earl of Shrewsbury]]). Part of a set of four, the tiles were possibly originally used on a church floor. The term "Talbot" is used in heraldry to refer to a good-mannered hunting dog. The [[Talbot (dog)|Talbot dog]] always depicts the Talbot [[coat of arms]] and is the original hound used as an English heraldic symbol. It is portrayed in the family arms of several noble German families and at least seven other English families.<ref>{{cite news |last=Waters |first=Nick |title=History of the Talbot tiles |url=http://www.dogworld.co.uk/product.php/2223/Features/35-Waters-(2) |accessdate=18 January 2014 |newspaper=[[Dog World (newspaper)|Dog World]] |date=5 November 2010 |archiveurl=https://www.webcitation.org/6MiPuGlGR?url=http://www.dogworld.co.uk/product.php/2223/Features/35-Waters-(2) |archivedate=18 January 2014 |url-status=live }}</ref>
Three [[encaustic tile]]s dating from the 15th century feature a white hound, the Talbot crest and the inscription "Sir John Talbot" (the [[John Talbot, 1st Earl of Shrewsbury|1st Earl of Shrewsbury]]). Part of a set of four, the tiles were possibly originally used on a church floor. The term "Talbot" is used in heraldry to refer to a good-mannered hunting dog. The [[Talbot (dog)|Talbot dog]] always depicts the Talbot [[coat of arms]] and is the original hound used as an English heraldic symbol. It is portrayed in the family arms of several noble German families and at least seven other English families.<ref>{{cite news |last=Waters |first=Nick |title=History of the Talbot tiles |url=http://www.dogworld.co.uk/product.php/2223/Features/35-Waters-(2) |accessdate=18 January 2014 |newspaper=[[Dog World (newspaper)|Dog World]] |date=5 November 2010 |archiveurl=https://web.archive.org/web/20140201201321/http://www.dogworld.co.uk/product.php/2223/Features/35-Waters-(2) |archivedate=1 February 2014 |url-status=live }}</ref>


The [[greyhound]] also features very often in British heraldry, and appears on the arms of several English and Scottish families. One family used a winged greyhound for its crest. Other breeds used less often in heraldry include [[mastiff]]s, [[bloodhound]]s and [[foxhound]]s. A creature referred to as the '''sea-dog''' is also used, and resembles the Talbot with scales, webbed paws, a fin along its back and a flat, beaver-like tail. The English heraldist [[Arthur Charles Fox-Davies]] believed the sea-dog to have originated from depictions of the [[European beaver|beaver]], citing as evidence that one of the supporters in the arms of [[Oxford]], which strongly resembles the sea-dog, is officially recorded as being a beaver.<ref name="Davies">[[Arthur Charles Fox-Davies]]. ''A Complete Guide to Heraldry'', T.C. and E.C. Jack, London, 1909, 203–205, https://archive.org/details/completeguidetoh00foxduoft.</ref>
The [[greyhound]] also features very often in British heraldry, and appears on the arms of several English and Scottish families. One family used a winged greyhound for its crest. Other breeds used less often in heraldry include [[mastiff]]s, [[bloodhound]]s, and [[foxhound]]s. A creature referred to as the '''sea-dog''' is also used, and resembles the Talbot with scales, webbed paws, a fin along its back, and a flat, beaver-like tail. The English heraldist [[Arthur Charles Fox-Davies]] believed the sea-dog to have originated from depictions of the [[European beaver|beaver]], citing as evidence that one of the supporters in the arms of [[Oxford]], which strongly resembles the sea-dog, is officially recorded as being a beaver.<ref name="Davies">[[Arthur Charles Fox-Davies]]. ''A Complete Guide to Heraldry'', T.C. and E.C. Jack, London, 1909, 203–205, https://archive.org/details/completeguidetoh00foxduoft.</ref>


==16th and 17th century==
==16th and 17th century==
[[Shakespeare]] may have disliked dogs, as the many references in his works are rather derogatory, many mentioning different breeds. Spaniels seem especially disliked, for fawning and slobbering.<ref>[https://www.drmetablog.com/2006/11/shakespeare_and.html Shakespeare and Dogs]; [https://paddysalmon.wixsite.com/close-reading/15-shakespeare--dogs WAS SHAKESPEARE A DOG LOVER?]</ref> On the other hand [[Titian]], who included dogs of several different breeds in his paintings, seems to show them in a good light.
[[File:Ofthedogingeneral.jpg|thumb|150px|A woodcut illustration from ''The history of four-footed beasts and serpents'' by [[Edward Topsell]], 1658]]
During the 16th and 17th century, dogs were depicted in hunting scenes, representing social status, as a lap dog, or sometimes as a personal friend. They were also used as symbols in painting. The Greek philosopher [[Diogenes of Sinope|Diogenes]] (404–323 BC) was depicted by Jean-Léon Gérôme in the company of dogs, serving as emblems of his "Cynic" (Greek: "kynikos," dog-like) philosophy, which emphasized an austere existence.<ref>{{cite book|title=Shakespeare's Clown: Actor and Text in the Elizabethan Playhouse|page=155|first=David|last=Wiles|publisher=Cambridge university press}}</ref><ref>Cf. Plato, ''Republic'' Book II</ref> Diogenes stated that "Unlike human beings who either dupe others or are duped, dogs will give an honest bark at the truth. Other dogs bite their enemies, I bite my friends to save them."<ref name="ReferenceB">Diogenes of Sinope, quoted by Stobaeus, ''Florilegium'', iii. 13. 44.</ref>


During the 16th and 17th century, dogs were depicted in hunting scenes, representing social status, as a lap dog, or sometimes as a personal friend. They were also used as symbols in painting. The Greek philosopher [[Diogenes of Sinope|Diogenes]] (404–323 BC) was depicted by Jean-Léon Gérôme in the company of dogs, serving as emblems of his "Cynic" (Greek: "kynikos," dog-like) philosophy, which emphasized an austere existence.<ref>{{cite book|title=Shakespeare's Clown: Actor and Text in the Elizabethan Playhouse|page=155|first=David|last=Wiles|publisher=Cambridge university press}}</ref><ref>Cf. Plato, ''Republic'' Book II</ref> Diogenes stated that "Unlike human beings who either dupe others or are duped, dogs will give an honest bark at the truth. Other dogs bite their enemies, I bite my friends to save them."<ref name="ReferenceB">Diogenes of Sinope, quoted by Stobaeus, ''Florilegium'', iii. 13. 44.</ref>
In the painting ''Portrait of a man writing at a table'' by the Dutch painter Hendrik Martenszoon Sorgh, a Protestant preacher and theologian, with the Bible opened on the table, is depicted with his dog. The dog represents fidelity, vigilance, and regularity in research, owing to the perceived natural intelligence and intuition of a dog.<ref name="ReferenceB"/><ref>[http://www.earlham.edu/~peters/writing/rudeness.htm "Logical Rudeness"]</ref>

<gallery widths="200px" heights="200px" perrow="4">
In the painting ''Portrait of a man writing at a table'' by the Dutch painter Hendrik Martenszoon Sorgh, a Protestant preacher and theologian, with the Bible opened on the table, is depicted with his dog. The dog represents fidelity, vigilance, and regularity in research, owing to the perceived natural intelligence and intuition of a dog.<ref name="ReferenceB"/><ref>{{Cite web |url=http://www.earlham.edu/~peters/writing/rudeness.htm |title="Logical Rudeness" |access-date=2014-02-02 |archive-date=2012-08-04 |archive-url=https://web.archive.org/web/20120804160307/http://www.earlham.edu/~peters/writing/rudeness.htm |url-status=dead }}</ref>
<gallery mode="packed" heights="200px">
File:Ofthedogingeneral.jpg|A woodcut illustration from ''The history of four-footed beasts and serpents'' by [[Edward Topsell]], 1658
File:Johann Christof Merck - Ulmer Dogge - WGA15061.jpg|[[Johann Christof Merck]], dog with a collar, 1705
File:Johann Christof Merck - Ulmer Dogge - WGA15061.jpg|[[Johann Christof Merck]], dog with a collar, 1705
File:John Wootton - A Grey Spotted Hound - Google Art Project.jpg|[[John Wootton]] (1682–1764) ''A Grey Spotted Hound''
File:John Wootton - A Grey Spotted Hound - Google Art Project.jpg|[[John Wootton]] (1682–1764) ''A Grey Spotted Hound''
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==18th century==
==18th century==
{{gallery|mode="packed"|align=right

[[File:Izumiya Tomotada - Netsuke in the Form of a Dog - Walters 711020 - Three Quarter.jpg|thumbnail|{{transl|ja|[[Netsuke]]}} ''in the Form of a Dog'']]
|File:Izumiya Tomotada - Netsuke in the Form of a Dog - Walters 711020 - Three Quarter.jpg|{{transl|ja|[[Netsuke]]}} ''in the Form of a Dog''
|File:Fo-dog mat, Xinjiang, 18th century .jpg|[[Chinese guardian lions|Foo dog]] mat, [[Xinjiang]], 18th century
{{transl|ja|[[Netsuke]]}} are Japanese miniature sculptures of great artistic merit that also serve a practical function as toggles for cords used to attach small objects, boxes or pouches to [[kimono]], which traditionally have no pockets. Most {{transl|ja|netsuke}} production was during 1615–1868, in the [[Edo period]] in Japan. Among other motifs, {{transl|ja|netsuke}} often depicted dogs. The tradition of showing dogs in hunting scenes continued to the 18th century.<ref name="Secord">{{cite web|title=Victorian England|url=http://www.dogpainting.com/info_detail.cfm?type=referance&info_name=VICTORIANENGLAND&index=2|publisher=William Secord Gallery|accessdate=24 September 2013|url-status=dead|archiveurl=https://web.archive.org/web/20140113235416/http://www.dogpainting.com/info_detail.cfm?type=referance&info_name=VICTORIANENGLAND&index=2|archivedate=13 January 2014}}</ref>
}}

{{transliteration|ja|[[Netsuke]]}} are Japanese miniature sculptures of great artistic merit that also serve a practical function as toggles for cords used to attach small objects, boxes, or pouches to [[kimono]], which traditionally have no pockets. Most {{transliteration|ja|netsuke}} production was during 1615–1868, in the [[Edo period]] in Japan. Among other motifs, {{transliteration|ja|netsuke}} often depicted dogs. The tradition of showing dogs in hunting scenes continued to the 18th century.<ref name="Secord">{{cite web|title=Victorian England|url=http://www.dogpainting.com/info_detail.cfm?type=referance&info_name=VICTORIANENGLAND&index=2|publisher=William Secord Gallery|accessdate=24 September 2013|url-status=dead|archiveurl=https://web.archive.org/web/20140113235416/http://www.dogpainting.com/info_detail.cfm?type=referance&info_name=VICTORIANENGLAND&index=2|archivedate=13 January 2014}}</ref>
<gallery widths="200px" heights="200px" perrow="4">
File:Fo-dog mat, Xinjiang, 18th century .jpg|[[Chinese guardian lions|Foo dog]] mat, [[Xinjiang]], 18th century
</gallery>


==19th and 20th century==
==19th and 20th century==
{{gallery|mode=packed|align=right
[[File:A Distinguished Member of the Humane Society by Sir Edwin Landseer.jpg|thumb|left|''A Distinguished Member of the Humane Society'' by [[Sir Edwin Landseer]]]]
|File:A Distinguished Member of the Humane Society by Sir Edwin Landseer.jpg|''A Distinguished Member of the Humane Society'' by [[Sir Edwin Landseer]]
[[File:John Singer Sargent - Miss Beatrice Townsend.jpg|thumb|''Miss Beatrice Townsend'' by [[John Singer Sargent]] ]]
[[File:Cassius Marcellus Coolidge - Poker Game (1894).png|thumb|''Poker Game'', oil on canvas, [[Cassius Marcellus Coolidge]], 1894, the first of the 11 ''[[Dogs Playing Poker]]'' paintings]]
|File:John Singer Sargent - Miss Beatrice Townsend.jpg|''Miss Beatrice Townsend'' by [[John Singer Sargent]]
|File:Cassius Marcellus Coolidge - Poker Game (1894).png|''Poker Game'', oil on canvas, [[Cassius Marcellus Coolidge]], 1894, the first of the 11 ''[[Dogs Playing Poker]]'' paintings
}}
The picture entitled ''A Distinguished Member of the Humane Society'' depicts a dog that was well-known in London. The dog, depicted in 1838 by Sir Edwin Landseer, was a Newfoundland called "Bob" who was found in a shipwreck off the coast of England. The dog found his way to the London waterfront, where he became known for saving people from drowning a total of twenty-three times over the course of fourteen years. For this, he was made a distinguished member of the [[Royal Humane Society]], granting him a medal and access to food.<ref name=newfoundlandart>{{cite web|title=The Newfoundland in Art & Literature|url=http://www.ncanewfs.org/history/pages/landseer2.html|publisher=Newfoundland Club of America|accessdate=10 September 2011|archive-url=https://web.archive.org/web/20111016171216/http://www.ncanewfs.org/history/pages/landseer2.html|archive-date=16 October 2011|url-status=dead}}</ref> Newfoundlands with white patches are now recognized as a breed of their own, as a "[[Landseer (dog)|Landseer]]".<ref>{{cite book|last=Story|first=George M.|title=Dictionary of Newfoundland English|year=1990|publisher=Univ. of Toronto Press|location=Toronto|isbn=978-0-8020-5887-4|page=344|url=https://books.google.com/books?id=XrVbk3EndTcC&dq=%22A+Distinguished+Member+of+the+Humane+Society%22&pg=PA344}}</ref>
The picture entitled ''A Distinguished Member of the Humane Society'' depicts a dog that was well known in London. The dog, depicted in 1838 by Sir Edwin Landseer, was a Newfoundland called "Bob" who was found in a shipwreck off the coast of England. The dog found his way to the London waterfront, where he became known for saving people from drowning a total of twenty-three times over the course of fourteen years. For this, he was made a distinguished member of the [[Royal Humane Society]], granting him a medal and access to food.<ref name=newfoundlandart>{{cite web|title=The Newfoundland in Art & Literature|url=http://www.ncanewfs.org/history/pages/landseer2.html|publisher=Newfoundland Club of America|accessdate=10 September 2011|archive-url=https://web.archive.org/web/20111016171216/http://www.ncanewfs.org/history/pages/landseer2.html|archive-date=16 October 2011|url-status=dead}}</ref> Newfoundlands with white patches are now recognized as a breed of their own, as a "[[Landseer (dog)|Landseer]]".<ref>{{cite book|last=Story|first=George M.|title=Dictionary of Newfoundland English|year=1990|publisher=Univ. of Toronto Press|location=Toronto|isbn=978-0-8020-5887-4|page=344|url=https://books.google.com/books?id=XrVbk3EndTcC&dq=%22A+Distinguished+Member+of+the+Humane+Society%22&pg=PA344}}</ref>


By the Victorian era, the sporting tradition remained, but after the establishment of [[The Kennel Club]] in the UK in 1873 and the [[American Kennel Club]] in 1884, [[Breed standard (dogs)|breed standards]], or "word pictures," were introduced, and dog portraits soared in popularity.<ref name=digitaldogportraits>{{cite web|title=SketchGrowl Dog Portrait Commissions|url=https://sketchgrowl.com/collections/dog-portraits|publisher=SketchGrowl Pet Portraits|accessdate=10 September 2011}}</ref>
By the Victorian era, the sporting tradition remained, but after the establishment of [[The Kennel Club]] in the UK in 1873 and the [[American Kennel Club]] in 1884, [[Breed standard (dogs)|breed standards]], or "word pictures," were introduced, and dog portraits soared in popularity.<ref name=digitaldogportraits>{{cite web|title=SketchGrowl Dog Portrait Commissions|url=https://sketchgrowl.com/collections/dog-portraits|publisher=SketchGrowl Pet Portraits|accessdate=10 September 2011}}</ref>


<ref name="Secord" /> There are stylistic differences between the British and European depictions; William Secord, a world expert on canine art,<ref>{{cite web|title=Dog Art A Muse to Artists and a Delight to Countless Viewers|url=http://www.ralphlaurenhome.com/design/art_gallery_guide/william_secord.aspx|publisher=Ralph Lauren Media|accessdate=23 November 2013}}</ref> stated, "Belgian, Dutch, Flemish and German artists were more influenced by realism, depicting the dog the way it really looked, with dirt on {{sic|it's}} coat and slobber and that kind of thing. You see Alfred Stevens, who's Belgian, do street dogs and dogs that are suffering, which in England you never see. British depictions were more idealized. They want it pretty, simply put.”<ref>{{cite web|title=Dog Art: The Dog Has Been a Muse to Countless Artists and a Delight to Viewers |url=http://www.artandantiquesmag.com/2012/02/dog-star/ |publisher=Art & Antiques |accessdate=24 September 2013 |archiveurl=https://www.webcitation.org/6LLfDkUoj?url=http://www.artandantiquesmag.com/2012/02/dog-star/ |archivedate=23 November 2013 |url-status=live }}</ref>
<ref name="Secord" /> There are stylistic differences between the British and European depictions; William Secord, a world expert on canine art,<ref>{{cite web|title=Dog Art A Muse to Artists and a Delight to Countless Viewers|url=http://www.ralphlaurenhome.com/design/art_gallery_guide/william_secord.aspx|publisher=Ralph Lauren Media|accessdate=23 November 2013}}</ref> stated, "Belgian, Dutch, Flemish and German artists were more influenced by realism, depicting the dog the way it really looked, with dirt on {{sic|it's}} coat and slobber and that kind of thing. You see Alfred Stevens, who's Belgian, do street dogs and dogs that are suffering, which in England you never see. British depictions were more idealized. They want it pretty, simply put.”<ref>{{cite web|title=Dog Art: The Dog Has Been a Muse to Countless Artists and a Delight to Viewers |url=http://www.artandantiquesmag.com/2012/02/dog-star/ |publisher=Art & Antiques |accessdate=24 September 2013 |archiveurl=https://web.archive.org/web/20140116205415/http://www.artandantiquesmag.com/2012/02/dog-star/ |archivedate=16 January 2014 |url-status=live }}</ref>


==Contemporary==
==Contemporary==
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The prices achieved for canine art increased in the 1980s–1990s, and started to gain popularity in established art circles rather than antique markets. Buyers were generally divided into three dominant categories: hunters; breeders and exhibitors of pedigree dogs; and owners of companion animals.<ref>{{cite journal|last=Silberman|first=Vanessa|title=Who Let the Dogs Out?|journal=Art Business News|date=May 2001|volume=28|issue=5|url=https://www.questia.com/read/1G1-74628439/who-let-the-dogs-out|accessdate=24 September 2013}}</ref>
The prices achieved for canine art increased in the 1980s–1990s, and started to gain popularity in established art circles rather than antique markets. Buyers were generally divided into three dominant categories: hunters; breeders and exhibitors of pedigree dogs; and owners of companion animals.<ref>{{cite journal|last=Silberman|first=Vanessa|title=Who Let the Dogs Out?|journal=Art Business News|date=May 2001|volume=28|issue=5|url=https://www.questia.com/read/1G1-74628439/who-let-the-dogs-out|accessdate=24 September 2013}}</ref>


[[Pablo Picasso]] frequently included his canine companions in his paintings.<ref>{{cite web|title=Dogs in art|url=http://www.petcentric.com/read/articles/dogs-in-art.aspx?articleid=e2548d41-256f-4ff7-be93-968b1d2f7aa8|publisher=[[Nestlé Purina PetCare Company|Purina]]|accessdate=24 September 2013}}</ref> Particularly well-known and often featured in his work was a [[Dachshund]], named [[Lump (dog)|Lump]], who actually belonged to [[David Douglas Duncan]] but lived with Picasso.<ref>{{cite web|title=Picasso's Dogs|url=http://moderndogmagazine.com/articles/picassos-dogs/20275|first=Stanley|last=Coren|accessdate=23 November 2013|publisher=Modern Dog Magazine}}</ref>
[[Pablo Picasso]] frequently included his canine companions in his paintings.<ref>{{cite web|title=Dogs in art|url=http://www.petcentric.com/read/articles/dogs-in-art.aspx?articleid=e2548d41-256f-4ff7-be93-968b1d2f7aa8|publisher=[[Nestlé Purina PetCare Company|Purina]]|accessdate=24 September 2013|archive-date=3 December 2013|archive-url=https://web.archive.org/web/20131203000736/http://www.petcentric.com/read/articles/dogs-in-art.aspx?articleid=e2548d41-256f-4ff7-be93-968b1d2f7aa8|url-status=dead}}</ref> Particularly well-known and often featured in his work was a [[Dachshund]], named [[Lump (dog)|Lump]], who actually belonged to [[David Douglas Duncan]] but lived with Picasso.<ref>{{cite web|title=Picasso's Dogs|url=http://moderndogmagazine.com/articles/picassos-dogs/20275|first=Stanley|last=Coren|date=10 June 2011 |accessdate=23 November 2013|publisher=Modern Dog Magazine}}</ref>


Depictions of dogs have extended as well to the artform of [[photography]], a noted example being the work of photographer [[Elliott Erwitt]].
Depictions of dogs have extended as well to the artform of [[photography]], a noted example being the work of photographer [[Elliott Erwitt]].
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==Picture gallery==
==Picture gallery==
{{Clear}}
{{Clear}}
<gallery widths="200px" heights="200px" perrow="4" caption="Paintings of dogs as a companion">
<gallery mode="packed" heights="200px" caption="Paintings of dogs as a companion">
File:Jean-Léon Gérôme - Diogenes - Walters 37131.jpg|[[Jean-Léon Gérôme]]. ''Diogenes'' with dogs.
File:Jean-Léon Gérôme - Diogenes - Walters 37131.jpg|[[Jean-Léon Gérôme]]. ''Diogenes'' with dogs.
File:Sorgh Portrait of a man.jpg|Painting by [[Hendrik Martenszoon Sorgh]], a Dutch scholar sitting with his dog and parrot.
File:Sorgh Portrait of a man.jpg|Painting by [[Hendrik Martenszoon Sorgh]], a Dutch scholar sitting with his dog and parrot.
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</gallery>
</gallery>


<gallery widths="200px" heights="200px" perrow="4" caption="Paintings of dogs">
<gallery mode="packed" heights="200px" caption="Paintings of dogs">
File:Gerrit Dou (Dutch, 1613–1675), Sleeping Dog, 1650. Oil on panel.jpg|[[Gerrit Dou]], ''Sleeping Dog'', 1650
File:Gerrit Dou (Dutch, 1613–1675), Sleeping Dog, 1650. Oil on panel.jpg|[[Gerrit Dou]], ''Sleeping Dog'', 1650
File:Portrait of a dog, seated on a red cushion, by Henri van Assche, 1801.jpg|[[Henri Van Assche]], ''Portrait of a dog, seated on a red cushion'', 1801
File:Portrait of a dog, seated on a red cushion, by Henri van Assche, 1801.jpg|[[Henri Van Assche]], ''Portrait of a dog, seated on a red cushion'', 1801
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File:Frederick August Wenderoth 1875, Little Terrier.jpg|''Little Terrier'' by [[Frederick August Wenderoth]], 1875
File:Frederick August Wenderoth 1875, Little Terrier.jpg|''Little Terrier'' by [[Frederick August Wenderoth]], 1875
File:Alfred Dedreux - A Greyhound In An Extensive Landscape.jpg|''A Greyhound with Landscape'' by [[Alfred Dedreux]] (1810–1860)
File:Alfred Dedreux - A Greyhound In An Extensive Landscape.jpg|''A Greyhound with Landscape'' by [[Alfred Dedreux]] (1810–1860)
</gallery>

<gallery mode="packed" heights="200px" caption="Statues of dogs">
Roman sculpture of a hunting dog with deer.jpg|Roman statue of a hunting dog in [[Vatican Museums#Museo Pio-Clementino|Museo Pio-Clementino]]
Statue of a dog (19815680759).jpg|Statue in the [[Capitoline Museum]]s
Château_de_Fontainebleau-Chien_assis-Pierre_Biart-20170625.jpg|Statue at the [[Diana of Versailles#Fountain of Diana at Fontainebleau|Fountain of Diana]]
Het_Zinneke_(DSCF5238)_Brussels,_BE.jpg|[[Het Zinneke]] in Brussels
Pulpit of Notre-Dame de Strasbourg Hund über den Kopf streicheln.jpg|Statue in [[Strasbourg Cathedral]]
Dog statue at Nordkirchen castle.jpg|Statue at [[Nordkirchen Castle]]
Berczy Park Dog Fountain - Toronto (39272689195).jpg|Fountains in [[Berczy Park]]
</gallery>
</gallery>


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*[[List of fictional dogs]]
*[[List of fictional dogs]]
*[[List of individual dogs]]
*[[Dogs in religion]]
*[[Dogs in religion]]
*[[Dog in Chinese mythology]]
*[[Dog in Chinese mythology]]
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==References==
==References==
{{reflist|30em}}
{{Reflist|30em}}

{{Mammals in culture}}
{{Authority control}}


[[Category:Dogs in popular culture]]
[[Category:Dogs in popular culture]]
[[Category:Art history]]
[[Category:Art history]]
[[Category:Dogs in art]]
[[Category:Dogs in art]]
[[Category:Cultural depictions of animals]]

Latest revision as of 07:22, 15 August 2024

After the hunt, 1870, by David Neal (1838–1915)

Cultural depictions of dogs in art has become more elaborate as individual breeds evolved and the relationships between human and canine developed. Hunting scenes were popular in the Middle Ages and the Renaissance. Dogs were depicted to symbolize guidance, protection, loyalty, fidelity, faithfulness, alertness, and love.[1]

As dogs became more domesticated, they were shown as companion animals, often painted sitting on a lady's lap. Throughout art history, mainly in Western art, there is an overwhelming presence of dogs as status symbols and pets in painting. The dogs were brought to houses and were allowed to live in the house. They were cherished as part of the family, and were regarded highly by the upper classes, who used them for hunting and could afford to feed them. Hunting dogs were generally connected to the aristocracy. Only the nobility were allowed to keep hunting dogs, and this would signal status.

Dogs are unusual in Christian religious art, but the New Testament subject of the Exorcism of the Syrophoenician woman's daughter and the Old Testament one of Tobias and the Angel are exceptions, as they are mentioned in the texts, and depictions often include them.

Dog portraits became increasingly popular in the 18th century, and the establishment of The Kennel Club in the United Kingdom of Great Britain and Ireland in 1873, and the American Kennel Club in 1884 introduced breed standards or 'word pictures', which further encouraged the popularity of dog portraiture.

Early history

[edit]

There are illustrations of dogs on the walls of tombs dating back to the Bronze Age, as well as statues, children's toys, and ceramics depicting dogs. Hunting dogs are commonly portrayed.[2] One of the prehistoric paintings estimated to be 9,000 years old found at the Bhimbetka rock shelters in India depict a dog held on a leash by a man.[3] Rock art of Tassili n'Ajjer also include depictions that are highly suggestive of dogs.[4][5]

The Ancient Greeks and Romans, contrary to the Semitic cultures, favored dogs as pets, valuing them for their faithfulness and courage; they were often seen on Greek and Roman reliefs and ceramics as symbols of fidelity.[6] Dogs were given as gifts among lovers and kept as pets, guardians, and for hunting. Dogs were appreciated by the Greeks for their faith and love. Homer's Odyssey tells the story of Odysseus, who raised a dog called Argos, and who was the only one that recognized him when he returned home after his travels, disguised to conceal his appearance. This theme has been often depicted in ancient Greek vases.[7]

The ancient Romans kept three types of dogs: hunting dogs, especially sighthounds; Molossus dogs like the Neapolitan Mastiff, often depicted in reliefs and mosaics with the words "Cave Canem"; and small companion dogs like the Maltese, used as women's lap dogs. Greyhounds were often represented as sculptures. Large dogs were used in war by the Roman army, arranged in attack formation, or for wolf-hunting on horseback, which was a popular sport.[8][9][10]

Middle Ages

[edit]
Detail of the dog
Jan van Eyck's The Arnolfini Wedding (1434).

Generally, dogs symbolize faith and loyalty.[11] A dog, when included in an allegorical painting, portrays the attribute of fidelity personified.[12] In a portrait of a married couple, a dog placed in a woman's lap or at her feet can represent marital fidelity. If the portrait is of a widow, a dog can represent her continuing faithfulness to the memory of her late husband.[11]

An example of a dog representing marital fidelity is present in Jan van Eyck's Arnolfini Portrait. An oil painting on oak panel dated 1434 by the Early Netherlandish painter Jan van Eyck, it is a small full-length double portrait,[13] which is believed to represent the Italian merchant Giovanni di Nicolao Arnolfini and his wife,[14] presumably in their home in the Flemish city of Bruges. The little dog symbolizes faithfulness, devotion or loyalty,[13] or can be seen as an emblem of lust, signifying the couple's desire to have a child.[15] Unlike the couple, the dog looks out to meet the gaze of the viewer.[16] The dog could also be simply a lap dog, a gift from husband to wife. Many wealthy women in the court had lap dogs as companions, reflecting wealth or social status.[17] During the Middle Ages, images of dogs were often carved on tombstones to represent the deceased's feudal loyalty or marital fidelity.[18]

Hunting scenes

[edit]
Livre de Chasse, French hunting dog book

Hunting scenes were common topics in medieval and Renaissance art. Hunting in the medieval period was a sport exclusive to the aristocracy, and hunting was an essential part of court etiquette. Depictions of people with a hunting dog, hawks or falcons would signal status. Hunting dogs were connected to aristocracy, as only the nobility was allowed to hunt. Different breeds of dogs were used for different types of hunting. Hunting with dogs was so popular during the Middle Ages that wild bears were hunted to extinction in England.

Pisanello (1395–1455), hunting scene with dogs (The Vision of St. Eustachius)

Hunting dogs are seldom seen depicted in the company of clerics, due to a prohibition of the activity decreed by the Fourth Council of the Lateran, held under Pope Innocent III.

In heraldry

[edit]
Coats of arms of the House of Tudor
Coats of arms of the Hungarian town Ebes
Coat of arms of the former Finnish municipality Tottijärvi

As the aristocracy often used hunting dogs, dogs were shown as symbols in heraldry. In the late Middle Ages and the Renaissance, heraldry became a highly developed discipline. Dogs of various types, and occasionally of specific breeds, occur as charges and supporters in many coats of arms, and often symbolise courage, vigilance, loyalty, and fidelity.[19]

Three encaustic tiles dating from the 15th century feature a white hound, the Talbot crest and the inscription "Sir John Talbot" (the 1st Earl of Shrewsbury). Part of a set of four, the tiles were possibly originally used on a church floor. The term "Talbot" is used in heraldry to refer to a good-mannered hunting dog. The Talbot dog always depicts the Talbot coat of arms and is the original hound used as an English heraldic symbol. It is portrayed in the family arms of several noble German families and at least seven other English families.[20]

The greyhound also features very often in British heraldry, and appears on the arms of several English and Scottish families. One family used a winged greyhound for its crest. Other breeds used less often in heraldry include mastiffs, bloodhounds, and foxhounds. A creature referred to as the sea-dog is also used, and resembles the Talbot with scales, webbed paws, a fin along its back, and a flat, beaver-like tail. The English heraldist Arthur Charles Fox-Davies believed the sea-dog to have originated from depictions of the beaver, citing as evidence that one of the supporters in the arms of Oxford, which strongly resembles the sea-dog, is officially recorded as being a beaver.[21]

16th and 17th century

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Shakespeare may have disliked dogs, as the many references in his works are rather derogatory, many mentioning different breeds. Spaniels seem especially disliked, for fawning and slobbering.[22] On the other hand Titian, who included dogs of several different breeds in his paintings, seems to show them in a good light.

During the 16th and 17th century, dogs were depicted in hunting scenes, representing social status, as a lap dog, or sometimes as a personal friend. They were also used as symbols in painting. The Greek philosopher Diogenes (404–323 BC) was depicted by Jean-Léon Gérôme in the company of dogs, serving as emblems of his "Cynic" (Greek: "kynikos," dog-like) philosophy, which emphasized an austere existence.[23][24] Diogenes stated that "Unlike human beings who either dupe others or are duped, dogs will give an honest bark at the truth. Other dogs bite their enemies, I bite my friends to save them."[25]

In the painting Portrait of a man writing at a table by the Dutch painter Hendrik Martenszoon Sorgh, a Protestant preacher and theologian, with the Bible opened on the table, is depicted with his dog. The dog represents fidelity, vigilance, and regularity in research, owing to the perceived natural intelligence and intuition of a dog.[25][26]

18th century

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Netsuke are Japanese miniature sculptures of great artistic merit that also serve a practical function as toggles for cords used to attach small objects, boxes, or pouches to kimono, which traditionally have no pockets. Most netsuke production was during 1615–1868, in the Edo period in Japan. Among other motifs, netsuke often depicted dogs. The tradition of showing dogs in hunting scenes continued to the 18th century.[27]

19th and 20th century

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The picture entitled A Distinguished Member of the Humane Society depicts a dog that was well known in London. The dog, depicted in 1838 by Sir Edwin Landseer, was a Newfoundland called "Bob" who was found in a shipwreck off the coast of England. The dog found his way to the London waterfront, where he became known for saving people from drowning a total of twenty-three times over the course of fourteen years. For this, he was made a distinguished member of the Royal Humane Society, granting him a medal and access to food.[28] Newfoundlands with white patches are now recognized as a breed of their own, as a "Landseer".[29]

By the Victorian era, the sporting tradition remained, but after the establishment of The Kennel Club in the UK in 1873 and the American Kennel Club in 1884, breed standards, or "word pictures," were introduced, and dog portraits soared in popularity.[30]

[27] There are stylistic differences between the British and European depictions; William Secord, a world expert on canine art,[31] stated, "Belgian, Dutch, Flemish and German artists were more influenced by realism, depicting the dog the way it really looked, with dirt on it's [sic] coat and slobber and that kind of thing. You see Alfred Stevens, who's Belgian, do street dogs and dogs that are suffering, which in England you never see. British depictions were more idealized. They want it pretty, simply put.”[32]

Contemporary

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William McElcheran's Cross Section-dogs Dundas (TTC) Toronto

The prices achieved for canine art increased in the 1980s–1990s, and started to gain popularity in established art circles rather than antique markets. Buyers were generally divided into three dominant categories: hunters; breeders and exhibitors of pedigree dogs; and owners of companion animals.[33]

Pablo Picasso frequently included his canine companions in his paintings.[34] Particularly well-known and often featured in his work was a Dachshund, named Lump, who actually belonged to David Douglas Duncan but lived with Picasso.[35]

Depictions of dogs have extended as well to the artform of photography, a noted example being the work of photographer Elliott Erwitt.

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See also

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References

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  1. ^ "Animal Symbolism in Many Cultures".
  2. ^ "Dog". Encyclopædia Britannica. Retrieved 24 September 2013. log in required
  3. ^ Krishna, Nanditha. Sacred Animals of India. Penguin. p. 101.
  4. ^ Thurston, Mary Elizabeth. The Lost History of the Canine Race: Our 15,000-year Love Affair with Dogs. p. 13.
  5. ^ Enduring Treasures: National Parks of the World. National Geographic Society. p. 143.
  6. ^ "Greek and Roman Household Pets — CJ 44:245‑252 and 299‑307 (1949)". penelope.uchicago.edu. Retrieved 2020-01-10.
  7. ^ "Pets of Ancient Greeks" (PDF). www.penn.museum. Retrieved 2020-01-10.
  8. ^ "Pets in Ancient Rome". Retrieved 2020-01-10.
  9. ^ "Ancient Roman Animals". explore-italian-culture.com. Retrieved 2020-01-10.
  10. ^ "Dogs in Ancient Greece and Rome". penelope.uchicago.edu. Retrieved 2020-01-10.
  11. ^ a b Hall, James (1979), Dictionary of Subjects and Symbols in Art, Harper & Row, ISBN 978-0-06-430100-8
  12. ^ Kleiner, Fred S. (2009). Gardner's Art through the Ages: The Western Perspective. Wadsworth Publishing Company. p. 402.
  13. ^ a b Erwin Panofsky published an article entitled Jan van Eyck's 'Arnolfini' Portrait in the Burlington Magazine 1934
  14. ^ Stockstad Cothren
  15. ^ Harbison, Craig (1995). Jan Van Eyck: The Play of Realism. Reaktion Books. pp. 20–50.
  16. ^ Harbison, Craig, Jan van Eyck, The Play of Realism, Reaktion Books, London, 1991, ISBN 0-948462-18-3 pp. 33–34
  17. ^ Harbison, Craig, "Sexuality and social standing in Jan van Eyck's Arnolfini double portrait", Renaissance Quarterly, volume 43, issue 2, p. 270, Summer 1990, JSTOR
  18. ^ Keister, Douglas (2004). Stories in Stone: A Field Guide to Cemetery Symbolism and Iconography. Salt Lake City, UT: Gibbs Smith. p. 72.
  19. ^ ~ Heraldry Symbols
  20. ^ Waters, Nick (5 November 2010). "History of the Talbot tiles". Dog World. Archived from the original on 1 February 2014. Retrieved 18 January 2014.
  21. ^ Arthur Charles Fox-Davies. A Complete Guide to Heraldry, T.C. and E.C. Jack, London, 1909, 203–205, https://archive.org/details/completeguidetoh00foxduoft.
  22. ^ Shakespeare and Dogs; WAS SHAKESPEARE A DOG LOVER?
  23. ^ Wiles, David. Shakespeare's Clown: Actor and Text in the Elizabethan Playhouse. Cambridge university press. p. 155.
  24. ^ Cf. Plato, Republic Book II
  25. ^ a b Diogenes of Sinope, quoted by Stobaeus, Florilegium, iii. 13. 44.
  26. ^ ""Logical Rudeness"". Archived from the original on 2012-08-04. Retrieved 2014-02-02.
  27. ^ a b "Victorian England". William Secord Gallery. Archived from the original on 13 January 2014. Retrieved 24 September 2013.
  28. ^ "The Newfoundland in Art & Literature". Newfoundland Club of America. Archived from the original on 16 October 2011. Retrieved 10 September 2011.
  29. ^ Story, George M. (1990). Dictionary of Newfoundland English. Toronto: Univ. of Toronto Press. p. 344. ISBN 978-0-8020-5887-4.
  30. ^ "SketchGrowl Dog Portrait Commissions". SketchGrowl Pet Portraits. Retrieved 10 September 2011.
  31. ^ "Dog Art A Muse to Artists and a Delight to Countless Viewers". Ralph Lauren Media. Retrieved 23 November 2013.
  32. ^ "Dog Art: The Dog Has Been a Muse to Countless Artists and a Delight to Viewers". Art & Antiques. Archived from the original on 16 January 2014. Retrieved 24 September 2013.
  33. ^ Silberman, Vanessa (May 2001). "Who Let the Dogs Out?". Art Business News. 28 (5). Retrieved 24 September 2013.
  34. ^ "Dogs in art". Purina. Archived from the original on 3 December 2013. Retrieved 24 September 2013.
  35. ^ Coren, Stanley (10 June 2011). "Picasso's Dogs". Modern Dog Magazine. Retrieved 23 November 2013.