A Pet Portrait Sampling Over Time

A recent trip to the National Gallery of Art in Washington made me curious. I noticed paintings of people’s pets dating from the 1700s onward. Now that I am a pet portrait artist, I just had to track down the evolution of pet portraits. Here’s what I discovered!

Chapter 1: Roman Watchdogs

*Cave Canem*, Roman House in Pompeii, 1st century BC.

The "Cave Canem" mosaic, which translates to "Beware of the Dog", is an ancient artwork with a timeless message.

Originating from the entrance of a Roman house in Pompeii, this mosaic shows a fierce dog alongside the inscription. The mosaic serves as a reminder of the longstanding bond between humans and their loyal canine companions while cautioning visitors to tread carefully. It’s believed to date to the 1st century, BC.

I love this piece because it is the oldest known artwork to depict a domestic dog. It can’t be known if the pup slept in the bed with his owners, but he at least had a job as a guard dog at that residence.

Chapter 2: Egyptians Were Definitely Cat People

Moving on to our first documented cat people…

The earliest forms of Egyptian art featured depictions of lions and African wildcats. Starting around the mid-third millennium BC, tombs began to showcase images of cats wearing collars, hinting that these wildcats were domesticated and possibly kept as pets by pharaohs. This association between pharaohs, nobles, and these majestic creatures endured for centuries.

When Nebamun was alive circa 1400 to 1350 BC, cats were already kept as pets. People didn’t need to selectively breed cats, which is unlike how we arrived at domestic dogs, whose ancestor is the wolf.

Cats straight from the wild were more suited to living with humans (this makes sense because cats are crazy, in my opinion!). The arrangement probably happened as a symbiotic relationship that benefited both parties. The cat would enjoy the rodents and snakes which might be more populous in a human settlement, and the humans enjoyed the cat as a hunter and a companion.

Hunting scene from the tomb of Nebamun, Thebes, Egypt, 18th dynasty, ca. 1400-1350 BC. Note the cat which is catching birds below Nebamun’s right elbow.

Look at the detail of the cat above. In the papyrus reeds, a tawny cat is playing a game of bird-catching. In this scene, the cat is an enforcer of the Sun god, taking down the troublemakers who dared to challenge light and order. His golden eye points to the religious purpose of this piece. Egyptians believed that if they inscribed scenes like these on tombs that it would help to guide the dead onto their afterlife.

Sarcophagus of Prince Thutmose’s Cat Ta-Miu

Another historical tidbit also dates back to around 1350 BC when Prince Thutmose of the royal household honored his cherished feline companion by mummifying her and placing her in a finely engraved stone coffin. This burial serves as an early example of cat mummification, a practice that persisted through late Roman Egypt.

The sarcophagus's sides have detailed carvings, featuring the goddess Isis on a stool shaped like the Nebu, a hieroglyphic symbol representing gold. On one side, a deity holds two Nu jars, ready to pour drinks to the gods. Meanwhile, the back of the sarcophagus reveals a cat seated at a table covered with offerings that were meant to sustain her in the afterlife. There is also a lotus flower which is a symbol of resurrection and renewal. These elements collectively offer a glimpse into the tale of Crown Prince Thutmose and the love he had for his pet cat, Ta-Miu.

Chapter 3: Renaissance Woofs and Whiskers

Fast-forward to the Renaissance, a period of artistic rebirth and innovation. Here, pets transcended their roles as mere companions, earning a place in grand portraits.

During the Renaissance, pet portraits became popular among the nobility. Wealthy families commissioned artists to paint their beloved pets, often showcasing them alongside family members. These portraits served as symbols of status, wealth, and/or fidelity, and loyalty.

Artists would use oil paints to create lifelike portraits, paying special attention to the animal's fur, eyes, and overall demeanor. Note the realistic detail in the painting of hunting dogs below.

*Two Hunting Dogs Tied to a Tree Stump*, Jacopo Bassano, 1548.

Italian aristocrats had often included dogs in their portraits, most memorably in Mantegna's Camera Picta (1465–1474), where the Marquis of Mantua's favorite dog 'Rubino' sits under his chair (look towards the bottom lefthand portion of the painting).

Chapter 4: Regal Tails and Aristocratic Strokes

As time marched on, the 17th and 18th centuries ushered in grandiose pet portraiture among the aristocracy.

During the 1830s, the artist Landseer made quite a name for himself with his impressive dog paintings. Among his notable works, "Dignity and Impudence" stands out as a fan favorite. Landseer's portfolio included both grand, life-sized pet portraits and smaller pieces that told intriguing stories.

*Dignity and Impudence*, Sir Edwin Landseer, 1839.

In this particular artwork, Landseer showcases his clever approach. He takes a playful nod at the Dutch portrait style, where there is typically a window frame and a hand in the picture. Here, the bloodhound's paw is doing the same thing, hanging over from his kennel.

The painting features a contrast between two dogs, both owned by Jacob Bell, who was behind the commission. Grafton, the dignified bloodhound, has this wise and soulful look, while Scratch, the spirited West Highland terrier, exudes a mischievous charm.

As for the artistic technique, Landseer's skill shines through. The larger dog has a smooth and refined texture, capturing his regal demeanor. On the other hand, the smaller terrier comes to life with expressive brushstrokes, adding a lively energy to his portrayal. It's a testament to Landseer's ability to infuse his subjects with distinct personalities through his art.

Between 1830 and 1840, which marked his most productive era, Landseer specialized in creating paintings featuring dogs. Approximately half of his dog paintings were commissioned works. During this time, his talent caught the eye of the royal family. In 1836, he received a special assignment from the Duchess of Kent to paint Princess Victoria's pet spaniel, Dash, as a birthday gift (see the image below).

By 1838, Landseer had already captured both Dash and Lory (another pup), and would go on to produce over forty works for Queen Victoria and Prince Albert; notably, both domestic and exotic animals recur throughout the body of Landseer's royal commissions, appearing as often alone as they do alongside their masters.

In a self-portrait (below), Landseer is depicted seated at a drawing board, holding a porte-crayon (a type of pencil holder) in one hand, while two dogs observe his drawing from behind him. Despite reports of Landseer disliking being observed while working, he had a soft spot for having dogs around in his studio. The two dogs featured in the painting are likely his own collie, Lassie (on the right), and a retriever named Myrtle, who belonged to Mr. Wells, one of his patrons.

By positioning these two dogs as discerning critics of his own work, Landseer suggests that an untrained judge might sometimes have a keener perspective than one who is formally educated in art.

*The Connoisseurs: Portrait of the Artist with two Dogs,* Sir Edward Landseer, before 1865.

Chapter 5: Capturing Canine and Kitty Charm in the Camera Age

Harry Pointer with some of his cats. Photograph is from the “Brighton Cats” series, 1880.

In the 19th century, the advent of photography revolutionized pet portraiture. With subjects holding still no longer an issue, pets were photographed in their candid glory.

During the 1870s, photographer Harry Pointer gained prominence in Brighton for a distinctive series of photographs known as "carte-de-visite." The subjects for this collection were none other than his own pet cats.

Initially, Pointer's work was quite conventional, featuring cats engaged in everyday activities such as napping, drinking milk, or resting in a basket. However, around 1870, he took a creative turn. He began capturing his cats in amusing poses and imaginative scenarios, aiming to amuse people.

Notably, Pointer would occasionally dress his cats in costumes relevant to the depicted scene. This resulted in images of cats pedaling miniature tricycles, gracefully skating on roller skates, and even mimicking the role of a photographer by holding a camera.

In essence, Harry Pointer demonstrated a unique blend of creativity and affection in his photography during a time when the concept of pet portraiture was still in its beginning stages. Through his lens, he showcased the playful aspects of his cats, leaving behind a legacy that resonates with animal lovers to this day.

*The Photographer* from the “Brighton Cats” Series, Harry Pointer.

A cat on a tricycle, a carte from the “Brighton Cats” series, Harry Pointer, the caption reads “A Happy New Year”.

Next up in the same time period, I had to research the following portrait of the King Charles spaniel that I saw at the National Gallery. It’s by one of my favorite artists, Edouard Manet.

Many art historians emphasize that Manet stood out as one of the pioneering artists of his era who veered away from the conventional focus on religious subjects or societal activities prevalent in French society. Instead, he channeled his artistic energy into capturing scenes and figures from his own life.

One of his standout creations, titled "King Charles Spaniel," emerged in 1866. No one knows who the dog belonged to because Manet didn’t often leave notes describing his paintings, but it’s still a lovely animal portrait. This particular piece is located in the National Gallery of Art in Washington, DC.

Echoing the traits seen in Manet's other Impressionist masterpieces, the painting shows the regal dog sitting atop a plush crimson cushion, exuding an air of majesty that parallels royalty.

I love his loose brush strokes in this piece. I have to imagine an artwork like this inspires current pet portrait artists whom I follow on Instagram. Who wouldn’t love an artwork like this immortalizing their beloved friend?

*A King Charles Spaniel*, by Edouard Manet, 1866.

Chapter 6: Contemporary Canvases

Finally, we have arrived at the 20th century.

In the contemporary realm, artists seamlessly blend traditional techniques with current themes, creating pet portraits that resonate with modern sensibilities.

A famous example is "A Friend in Need" by Cassius Marcellus Coolidge, an iconic representation of dogs playing poker, capturing their personalities through a humorous lens.

You're likely to spot this painting on the walls of pubs, restaurants, and various other establishments. You might even recognize it as the famous "Dogs Playing Poker."

Created in 1903, this artwork evokes a smile as it portrays an unusual scene, a group of dogs locked in an intense poker match. And one of them is cheating.

*A Friend In Need*, Cassius Marcellus Coolidge, 1903.

Another contemporary artist, Andy Warhol, was commissioned to render this adorable dachshund portrait below. "The Portrait Of Maurice" brings a burst of vibrant colors to a pet portrait.

While Warhol is widely recognized for his bold celebrity portraits and his iconic depictions of soup cans, this particular commissioned piece possesses a unique and undeniable charm.

In this portrayal, Maurice’s features are brought to life through a striking combination of bright blue, orange, and pink hues.

*Portrait of Maurice*, Andy Warhol, 1976.

I could look up these dog portraits all day, but I’ll finish with Edvard Munch.

Edvard Munch had a real soft spot for furry friends. He had quite a liking for dogs, big and small. He had a Saint Bernard named Bamse, a Gordon Setter named Boy, and a Fox Terrier named Fips.

Munch was practically inseparable from his pets, to the extent that it almost seemed like separation anxiety. Whenever he headed to the cinema, he ensured that Boy, his furry companion, had a ticket right alongside him. So, it's no surprise that he decided to feature dog portraits in his artistic creations.

I had no idea he made these paintings because his most famous work is “The Scream”, which is not my favorite. I was delighted to discover that he was a fellow dog lover and that he rendered these lovely portraits.

In "Dog's Face" you'll spot Boy making an appearance. And if you take a look at "Horse Team and a St. Bernard in the Snow" you'll see Bamse having a grand time in the great outdoors. Munch's connection with his pets went beyond the ordinary; they were part of his personal and even professional world, each leaving their paw prints on both aspects of his life.

*Horse Team and a St. Bernard in the Snow, 1923.*

Conclusion

In tracing the journey of pet portraits over the years, it becomes abundantly clear that the bond between humans and their beloved animal companions transcends time.

From the Romans in the 1st century BC, where hands immortalized the creatures that shared their existence, to the grand galleries of the Renaissance, where aristocrats and artists alike embraced their furry friends as subjects of beauty, the story unfolds.

We witnessed the evolution from symbolic representation to heartfelt tribute, as pets transitioned from mere symbols of power or protection to cherished members of the family, their personalities painted onto canvases with love.

The pet portrait genre has not only mirrored the shifts in society's perception of animals but also the artistic techniques and cultural values of each era. As we gaze upon these captivating snapshots from the past, we're reminded that the thread of companionship and adoration that binds us to our pets is one that has been woven through the fabric of human history, leaving behind a rich and colorful tapestry of devotion.