SEN (2023) Painting by Malgorzata Lodygowska
Are you an animal lover who wants to know everything about them? Do you stay up at night because you are also passionate about art and eagerly wish to discover more about the connection between animals and creative disciplines? Then hold onto your armrests, because here you will find answers to all the questions that trouble your heart!
Indeed, I have personally conducted an investigation to understand which species have been most frequently depicted throughout the long narrative of art history. After examining a considerable number of volumes, I had a sort of revelation: the recurrence of horses, dogs, cats, and birds in paintings, sculptures, and drawings is quite evident, but why does this happen?
LA CABRADE (2023) Sculpture by Audrey Fléchet
A CAVALIST (2024) Painting by Bertrand Joliet
Starting with the question about horses, it is undeniable that their popularity in the visual arts stems from their fundamental role in human history, both as means of transportation and labor, as well as in military contexts. Their strength, speed, and endurance made them indispensable for battles and for transporting goods and people. However, their frequent depiction in the arts is not solely due to their presence in daily human life but also because horses have often been portrayed as symbols of power and nobility, inextricably linked to equestrian portraits of kings and nobles, intended to express their authority and majesty. Additionally, in Greek mythology, these animals were associated with deities like Poseidon, and in many other cultures, they were seen as sacred or linked to various heroic legends.
From a more strictly art-historical perspective, it is possible to highlight how horses have been represented in art throughout history: during prehistory, the animal appeared in cave paintings such as those at Lascaux; in the ancient world, equine images were common in Egyptian, Greek, and Roman art, as exemplified by the well-known equestrian statue of Marcus Aurelius. The Renaissance brought further anatomical interest in the horse with artists like Leonardo da Vinci, Raphael, and Titian. In the 18th and 19th centuries, masters like George Stubbs and Rosa Bonheur were renowned for their detailed depictions of animals. In the 20th and 21st centuries, a notable example is painter Sir Alfred Munnings, who even specialized in equine subjects. However, in modern art, horses appear less frequently than in the past. Why might this be? It could be attributed to the fact that these animals have become less present in our lives and, consequently, less represented on artists' canvases.
Specifically addressing the genres in which horses have been most immortalized, they were popular in military and war art, as demonstrated by the famous example of Paolo Uccello's "The Battle of San Romano." The subject of horse racing inspired masters like Edgar Degas and influenced the photographic genius Eadweard Muybridge. Finally, in the context of hunting scenes and rural life, the works of Giovanni Fattori are notable, while the American West is exemplified from the perspective of Frederic Remington.
Moving to more contemporary visions, modern art has often taken famous subjects from classical art and depicted them in new and surprising ways. This practice not only pays homage to the artistic traditions of the past but also renews and reinterprets them through new perspectives, techniques, and concepts. An emblematic example of this innovative reinterpretation is Pablo Picasso's famous "Guernica." Created in 1937, this cubist masterpiece represents the devastation and horror of the Spanish Civil War. At the center of the composition is a screaming horse, whose body is distorted and fragmented. This animal, far from the traditional representation of strength and nobility, symbolizes the suffering and brutality of war. The distortion of its form conveys a sense of anguish and disorientation, amplifying the painting's message of chaos and violence. Another example of innovation in the representation of horses is found in the work of Marino Marini, a 20th-century Italian sculptor. His works are characterized by strong stylization and simplification of forms. Marini reinterpreted horses not as mere animals but as powerful symbols, often using these figures to explore complex themes such as conflict, dynamism, and the relationship between man and nature, where the tension between the horse and the rider is a recurring element.
HARMONY - (HYPNOTIC, MONOCHROMATIC EQUUS) (2023) Painting by Richard Brandão
In an equally innovative manner, the acrylic painting "Harmony" depicts a standing horse in profile. This work is part of a series by Artmajeur artist Richard Brandão, featuring monochromatic paintings of the same subject, executed in shades of brown with a minimalist approach. The reduction of elements aims to offer a powerful visual experience, inviting the viewer to contemplation and reflection.
Brandão, breaking conventions and reminding us of art's ability to convey profound emotions through simplicity, celebrates horses by exploring the concept of dynamism. The piece can indeed be connected to the movement of Op Art, an artistic genre that plays with optical illusions and movement. In fact, the sinuous lines and fluid forms of the painting create a hypnotic effect, conveying a sensation of continuous motion. This approach is not only visually stimulating but also resonates deeply with the intrinsic nature of the horse, an animal known for its speed and agility.
BON DÉLIRE (2024) Painting by Aurélie Quentin
Similar to horses, the popularity of dogs in visual arts stems from their fundamental role in human history, both as loving and loyal companions and as guardians and hunters. Indeed, besides being masters of the latter activity, dogs have often been depicted as symbols of friendship, love, fidelity, and protection, inextricably linked to family portraits and domestic scenes, where they expressed the security and affection they represented.
But how did we get to this point? The earliest depictions of dogs date back to the Bronze Age! During this period, illustrations on the walls of tombs, as well as statues, children's toys, and ceramics depicting dogs, commonly showed hunting dogs. In the Greek and Roman worlds, dogs were often depicted on reliefs and ceramics, already symbolizing fidelity and given as gifts among lovers. Additionally, the ancient Romans bred three types of dogs: hunting dogs, especially greyhounds; Molossian 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 lapdogs by women. Greyhounds were often represented as sculptures, while large dogs were used in war by the Roman army.
Hunting scenes were recurring themes in medieval and Renaissance art. During the Middle Ages, hunting was an exclusive sport of the aristocracy, so depictions of people with dogs, hawks, or falcons indicated their social status. An example of such an event is depicted by Pisanello, a renowned Renaissance painter, in his work "The Vision of Saint Eustace." During this same period, dogs, symbols of fidelity and loyalty, were very popular in allegorical paintings, often portraying married couples or the loyalty of widows. A notable example of this symbolism is present in the famous "Arnolfini Portrait" by Jan van Eyck, an oil painting on oak panel from 1434.
In the 16th and 17th centuries, dogs continued to be depicted in hunting scenes as symbols of social status, as lapdogs, or sometimes as personal companions. As dogs became increasingly domesticated, they were more often represented as companion animals. In the 18th century, dog portraits became increasingly popular, with the most notable example of the genre being "A Distinguished Member of the Humane Society," painted in 1838 by Sir Edwin Landseer.
Finally, some of the greatest masters of the 20th century innovatively immortalized these animals, including Pablo Picasso, Giacomo Balla, Francis Bacon, and Keith Haring. Just like these artists, contemporary artists continue the tradition of depicting dogs, fostering further development of varied and highly personal representations, as seen in the works of Jeff Koons, David Hockney, and Banksy.
DOG'S DUCK 3 (2022) Painting by Anna Voronina
Regarding a contemporary example, the painting "Dog's Duck 3" by Artmajeur artist Anna Voronina draws inspiration from 18th-century dog portraits but humanizes the subject. In ancient times, dogs were often depicted in their wild roles related to hunting, and later as symbols of love and fidelity or as companions for aristocratic ladies. In this painting, however, the dog reaches its evolutionary climax, becoming so close to humans that it adopts their habits.
The artwork shows the animal with a towel wrapped around its head, a cucumber slice over one eye, and a rubber duck in its mouth, as if it were in the midst of a pet-friendly beauty care session. "Dog's Duck 3" is part of the artist's "Funny Animals series," conceived to explore the close bond between dogs and humans, evolving the animal into a member of the family. This emotional involvement is complemented by the chromatic aspect; according to Goethe and Kandinsky, the red background is a positive color that brings cheerfulness, activity, and energy, making the image even more exciting and lively.
CATTON. SERIES “STITCHED GENDER STEREOTYPES” (2022) Collages by Lena Ash.
The cat, with its enigmatic elegance and sensual demeanor, has always exerted an irresistible charm on humans. This feline, a symbol of independence and grace, was worshipped as a deity in ancient Egypt, although it later fell from grace...
Let's start by talking about the cat's glory years, as no existing culture celebrated the animal as much as the aforementioned Egyptians, who considered cats so sacred that they depicted them on papyri, wall paintings, and sarcophagi. This was because the feline, often accompanying the deceased in their journey to the afterlife and being mummified with their owner, was associated with Bastet, the goddess of fertility and femininity. However, around 500 B.C., cats arrived in Europe from ancient Greece via merchant ships. Initially considered exotic, they gradually acquired the more practical role of rodent hunters, just as they did in ancient Rome.
In the Middle Ages, however, cats fell from grace as they were often associated with witchcraft and evil due to their nocturnal and mysterious nature. During this period, artistic representations often reflected this negative view of the animal, linking them to symbols of laziness and lust. However, with the Renaissance, attitudes towards cats began to change. Masters like Leonardo da Vinci studied them scientifically, appreciating their beauty and behavior. Nevertheless, negative representations of the feline persisted, such as in Ghirlandaio's "Last Supper," where the animal appears next to Judas.
In the 17th and 18th centuries, these animals began to appear in serene domestic scenes, such as those by Louis Le Nain, as well as in the still lifes of Clara Peeters. Finally, in the 19th and 20th centuries, cats became protagonists in more experimental art and subjects of works by iconic masters, including Manet, Picasso, Chagall, Matisse, and, later on, Andy Warhol.
Curiosity: The black cat in Manet's "Olympia" is laden with symbolism. Traditionally, black cats have been associated with magic, mystery, and witchcraft. In this context, the cat can be seen as a symbol of independence and rebellion. The black animal can also be interpreted as emblematic of Olympia's sexuality and audacity, as felines are often viewed as lustful beings.
WOMAN & GUITAR WITH CATS (2022) Collages by Simon Taylor
Continuing the historical artistic narrative with a contemporary example, the work "Woman & Guitar with Cats" by Simon Taylor represents an intimate and domestic scene, where the stylistic elements of Cubism have been uniquely and personally revisited. The collage, depicting a woman with a guitar surrounded by two cats, one white and one black, features fragmented geometric shapes and overlapping planes that imbue the composition with a strong sense of depth and dynamism. Additionally, the bold lines and vibrant colors add energy to the scene, while the intricate details in the patterns and textures of the collage materials add a tactile and visual dimension.
Regarding the cats in the artwork, they are depicted in a stylized manner, with simple yet expressive features that capture their attitude and mood. The white cat, adorned with delicate floral patterns, conveys a sense of tranquility and serenity, while the black cat takes on an affectionate and playful pose, in stark contrast to its traditionally witchcraft-associated image. This particular detail underscores the artist's message: cats, regardless of their color or cultural symbolism, are loving companions in life.
THE BIRD HUMAN (2020) Sculpture by Nelli Isupova
Birds, through the centuries, have fascinated and inspired artists, becoming symbols of freedom, beauty, mystery, and spirituality. From ancient cave paintings to the most modern reflective sculptures, these creatures continue to soar high in the artistic imagination, representing a profound connection between man and nature.
These animals were among the first to be depicted by humans. Where? The cave paintings of Lascaux, dating back over 17,000 years, include depictions of birds, demonstrating the ancient allure of these animals. Subsequently, in ancient Egypt, birds were also the subject of artworks, as the god Horus, often represented as a falcon, symbolized the sky, royalty, and protection. During the Middle Ages, birds frequently appeared in illuminated manuscripts and church stained glass windows, symbolizing spiritual concepts such as the soul and freedom.
However, it was not until the Renaissance that there was a naturalistic interest in the subject, leading to more detailed and realistic depictions of birds. Artists like Albrecht Dürer and Leonardo da Vinci, who studied their flight and wing mechanics, contributed significantly to this trend. In the seventeenth century, realistic representation was combined with symbolic depiction, as birds were often immortalized to allude to moral or philosophical themes. The eighteenth century saw a continued naturalistic interest in birds, but it was in the nineteenth century, with Impressionism, that these subjects began to transcend conventional styles.
The pinnacle of this process was reached in the twentieth century, with a diversification in the representation of birds by artists exploring new techniques and symbolic meanings. Among these, Paul Klee stands out with his iconic "Landscape with Yellow Birds" (1923). The exploration of symbolism continues in contemporary art, with reflective sculptures that interact with the environment, such as Jeff Koons' "Bluebird Planter" (2010-2016), and the personally interpreted birds by Kiki Smith, Walton Ford, and Ai Weiwei.
BIRDS AND VASE STILL LIFE (2017) Painting by Amirata Winter
It is important to highlight, however, that the language of contemporary art is distinguished by its openness to any form of expression, ready to evoke the realism and naturalistic interest of the masters of the past, as evidenced by "Birds and Vase Still Life" by Amirata Winter.
This painting depicts two small birds: one perched on a small blue vase with oriental motifs, while the other is positioned behind a larger vase adorned with painted flowers and leaves. Adding further naturalness to the scene, there are some red and orange berries placed next to the vases.
The entire scene is depicted in a realist style, characterized by great attention to detail and meticulous precision. The birds are portrayed with soft, finely rendered feathers. Additionally, the aforementioned vases are crafted with complexity and care for details, reminiscent of the traditional painting style.
Finally, the composition of the painting is harmonious and balanced, with an interesting interaction between the artificial objects and the natural elements. The red berries at the bottom of the painting add an additional layer of detail, evoking the still life genre.
Olimpia Gaia Martinelli
