Théophile-Alexandre Steinlen, Poster for the Company of the Black Cat (Prochainement la très illustre Compagnie du Chat Noir) 1896, colour lithograph, 56.3 x 36.0 cm (image), 61.9 x 40.0 cm (sheet). National Gallery of Victoria, Melbourne Purchased, NGV Foundation, 2022.
Thomas Gainsborough, Richard St George Mansergh – St George c. 1776–80, oil on canvas, 230.2 × 156.1 cm. National Gallery of Victoria, Melbourne Felton Bequest, 1922.
Francisco Goya y Lucientes, Where is mother going? (Donde vá mamá?) 1797–98, etching, aquatint and drypoint printed in sepia ink 18.2 × 11.9 cm (image) 20.6 × 16.2 cm (plate) 23.9 × 16.4 cm (sheet trimmed within platemark at left edge). National Gallery of Victoria, Melbourne Felton Bequest, 1976.
Whether beloved pets or superstitious omens, animals have always existed in art, revealing a human obsession with our furred friends and foes. The National Gallery of Victoria’s latest exhibition at the Ian Potter Centre is paying tribute to two of the most beloved animal figures: cats and dogs.
Cats & Dogs draws from the NGV collection and spans eras, cultures, and media. Presented thematically, with dogs on one side and cats on the other, Rembrandt, Goya, and Dürer, sit alongside David Hockney and Jeff Koons. Pierre Bonnard makes an appearance, after the cats in his NGV Winter Masterpieces exhibition were a clear fan favourite; and Australian artists include Claudia Moodoonuthi, Trevor Turbo Brown, Atong Atem, Charles Blackman, Grace Cossington Smith and Nora Heysen.
“People have shared domestic life with cats and dogs for thousands of years,” says NGV director Tony Ellwood AM. “Through more than 200 works from the NGV Collection, this exhibition explores our close-knit relationships with these animals with both critical rigour and a sense of humour. Whether a self-proclaimed dog person or cat lover, there is something for visitors of all inclinations to appreciate and enjoy.”
View, in pictures, the long history of art’s love affair with our domesticated companions.
Rembrandt Harmensz. van Rijn, Christ at Emmaus: the smaller plate 1634, etching and touches of drypoint, 9.7 × 7.2 cm (image) 10.3 × 7.3 cm (sheet, trimmed to platemark). National Gallery of Victoria, Melbourne Felton Bequest, 1958.