National Galleries of Scotland / Purchased by Private Treaty Sale with the aid of the Art Fund 1991 / © National Galleries of ScotlandĮdwin Landseer's Queen Victoria's Spaniel ‘Tilco’ (1838) Leonardo da Vinci's Studies of a Dog's Paw (verso) (circa 1490–95) “The way that our relationship with dogs-that unexplainable, loving bond-transgresses into art history is fascinating, and a greater reflection of society,” Xavier Bray, the exhibition’s curator, tells BBC Culture’s Matthew Wilson.
After years of pandemic delays, museum officials say they are now prepared and excited to share the unique collection with the world. Opening tomorrow at London’s Wallace Collection, “ Portraits of Dogs: From Gainsborough to Hockney” traces the relationship between artists and their pet canines throughout history. Our only knowledge of the last two years of his life has come from his notebook, found beside him and filled with nonobjective drawings depicting a world of horror.Plenty of exhibitions focus on humanity’s foundational relationships: humans and nature, humans and God, humans and each other.īut what about humans and their most loyal companions? Marc's career ended abruptly on the battlefield of Verdun in 1916. Within a year he was painting landscapes and was well on the road to abstraction, but whether he would have continued on this path is, again, a matter of conjecture. In his effort to paint the spiritual side of nature, just as Kandinsky sought to paint the spiritual nature of man, Marc painted animals. Marc, who wrote that "matter is something which the human mind suffers, at best, but does not recognize," began to develop his own form of expression in 1912 as the result of a meeting with Delaunay. In 1910 he met Macke and Kandinsky, became a member of the "Blaue Reiter" group, worked on their first almanac, and participated in the first Blaue Reiter exhibit in Germany. When he made a second trip to Paris in 1907, he saw the work of van Gogh. In the following year, contact with the avant-garde "Jugendstil" group in Munich helped him to clarify his own ideas. During his first trip to Paris in 1903, he had his first contacts with the Impressionists, and was particularly impressed with the work of Henri Rousseau. Marc was a moody young man and had difficulty finding a way to express himself. His father, an artist, encouraged him to study art, but Marc studied theology and philosophy before entering the Munich Art Academy in 1900.
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