Elena FitzPatrick Sifford on casta paintingsīrowse this content Becoming Modern, an introduction What was the Industrial Revolution? Romanticism Browse this content A beginner's guide A beginner’s guide to Romanticism Orientalism Staging the Egyptian Harem for Western Eyes France Browse this content Romanticism in France, an introduction Baron Antoine-Jean Gros, Napoleon Bonaparte Visiting the Pest House in Jaffa Jean-Auguste-Dominique Ingres Portrait of Madame Rivière Napoleon on His Imperial Throne Apotheosis of Homer Painting colonial culture: La Grande Odalisque Théodore Géricault Raft of the Medusa Portraits of the Insane Eugène Delacroix Eugène Delacroix, an introduction Scene of the Massacre at Chios The cost of war: Greece on the Ruins of Missolonghi The Death of Sardanapalus Liberty Leading the People Women of Algiers in Their Apartment Murals in the Chapel of The Holy Angels, Saint-Sulpice François Rude, La Marseillaise Spain Browse this content Francisco Goya Francisco Goya, The Sleep of Reason Produces Monsters Enrique Chagoya on Goya’s Los Caprichos Francisco Goya, The Family of Charles IV Francisco Goya, And there’s nothing to be done from The Disasters of War Francisco Goya, The Third of May, 1808 Francisco Goya, Saturn Devouring One Of His Sons England Browse this content Henry Fuseli The Nightmare Titania and Bottom William Blake The spiritual form of Nelson guiding Leviathan The Parable of the Wise and Foolish Virgins John Constable Constable and the English landscape Wivenhoe Park, Essex The Hay Wain View on the Stour near Dedham Salisbury Cathedral from the Meadows J.

Reframing Art History, a new kind of textbook.Not your grandfather’s art history: a BIPOC Reader.With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world. We believe that the brilliant histories of art belong to everyone, no matter their background. Robin Hamlyn, Robert Vernon's Gift - British Art for the Nation 1847, exhibition catalogue, Tate Gallery, London 1993, p.69.ĭoes this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. Two of these were destroyed in the flood of 1928, but the other six, including High Life, are still in the Tate collection (Tate A00702, N00409, N00411, N00412 and N00415).įurther reading: Richard Ormond, Sir Edwin Landseer, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 1982, p.99, no.59, reproduced p.101, in colour. Vernon owned several works by Landseer, eight of which he bequeathed to the National Gallery in 1847. The picture was exhibited at the British Institution in 1831 and was later acquired, along with Low Life, by Robert Vernon, who had an important collection of 19 th Century British art.

This dog represents the chivalrous, the rural and the patrician, as opposed to the feisty terrier, which represents the tough, urban values of the plebeian English workman. The dog itself was once thought to have been Scott's dog Maida, but in pose and colouring the dog is closer to Landseer's own deerhound, which appears with Maida in A Scene at Abbotsford c.1827 (Tate N01532). Through the window can be glimpsed a castellated tower. Various props scattered on the table and floor give the impression that the dog's master is a knight: hawking gloves, two rapiers, a sixteenth century-style helmet and breastplate, a standing cup, old leather-bound books, a partially unrolled document, a quill pen, a candlestick made from an eagle's talon and a bellpull. The deerhound in this picture reflects an aristocratic world of chivalry the interior is like a scene from a Walter Scott novel. Here the contrast is more one of character than of morality. There is a long literary and pictorial tradition behind such contrasts as virtue and vice, good and evil, which usually have some kind of moral purpose. The intention is to juxtapose two dogs from different worlds and different social classes as representations of their absent owners.

This particular work was conceived as a pair with Low Life (Tate A00702), and depicting a battle-scarred terrier, guarding his master's shop. About half consist of commissioned, life-size ' portraits', the rest are independent subjects, smaller in scale and usually with a narrative content. Landseer's dog paintings of the 1830s are among his most popular works.

Edwin henry landseer