David Hockney's Dog Days: (Reprint)

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Rosenberg, Karen (20 November 2019). "Overlooked No More: Pauline Boty, Rebellious Pop Artist". The New York Times. ISSN 0362-4331 . Retrieved 9 December 2019. Ruthie, the pup of German expressionist Franz Marc, is depicted in Dog Lying in the Snow, voted the Städel Museum’s most popular painting in 2008. We can’t be sure if the dog depicted is of the dachshund breed, but it does bear those familiar triangular ears and elongated log body. According to Marc, animals are the only innocent and pure creatures left in this corrupted world. Though, if he truly believed that, it is unlikely he ever encountered the headstrong and mischievous dachshund. He holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes. He has used hearing aids since 1979, but realised he was going deaf long before that. [109] As of 2018, he kept fit by spending half an hour in the swimming pool each morning, [110] and could stand for six hours at the easel. [106] Domesticating the dog reveals our cultural unconscious, though the story is usually made cutesy. The watercolours Queen Victoria painted of her dachshunds in the 1840s reminded me of my father: during the pandemic, he dug out his pencils and sent me sketches of Sonny, a sleeping whippet (a subject that spends hours lying about). If this sounds cosy, Victoria and Albert’s dachshunds were named Waldmann and Waldina, or forester and forestress. That breed, like a Brothers Grimm fairy tale, brought wild German-ness into the home before it became a figure of fun in global pop culture. Branding campaigns in the 1970s, such as Waldi of the Munich Olympics, gradually moved the dachsie from yapster to hipster. The stodgy, petty-bourgeois sausage dog turned into an ironic superstar.The curator of the exhibition, Xavier Bray, agrees. "The way that our relationship with dogs – that unexplainable, loving bond – transgresses into art history is fascinating, and a greater reflection of society," he tells BBC Culture. He said in his autobiography, "I love the idea first of all of painting like Leonardo, all his studies of water, swirling things. And I loved the idea of painting this thing that lasts for two seconds: it takes me two weeks to paint this event that lasts for two seconds." Weschler, Lawrence (24 January 2000). "The Looking Glass". The New Yorker. ISSN 0028-792X . Retrieved 18 April 2018.

The exhibition explored our devotion to four-legged friends across the centuries. Through carefully selected paintings, sculptures, drawings, works of art and even taxidermy, the exhibition highlighted the unique bond between humans and their canine companions.

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Another pit stop on the saus tour was meeting New York dog artist William Wegman, known for his collaborations with weimaraners, like Fay Ray, the “supermodel dog” who counted balls on Sesame Street. Wegman now works with Flo and Topper, the half-brother and sister duo. Fresh from their photo shoot with Vogue, I presented them with Eau de Wet Dogge, a gift from Teena. The kitchen became a beastly whirlwind mass of grey as the two circled the scent. Flo and Topper then demonstrated how they balanced on their famed white plinths. I saw the same level of bodily pose and focus that sweeps across Teena’s face when the camera makes an appearance. Some dogs, more than others, are made for show business, yet all the dachshunds I know go about life like they are continually in the spotlight. The exhibition, which features more than 50 artworks, will also explore how human perceptions of particular breeds have changed over time. As BBC Culture writes, “The first ‘dog portraits’ were created to celebrate the impressive sensory skills of hunting dogs, and proudly included the names of particularly skillful mutts.” Dry humor pervades all elements of the composition. The viewer half expects to see the vertical elements - the stiff couple and their belongings - blast off like space ships into the blue sky. The threat of the surreal lurking in this picture underscores the consistent relationship between Pop art and older movements. Also noteworthy is the manner in which the poses transgress traditional gender norms. Marcia, a full-figured matron in a robe held closed with one arm, bares her teeth, and strikes a sensual pose that is both gracious and confrontational. Fred, the man of the house, stands stiffly with his fists clenched, and is literally marginalized as he is pushed to the left-hand side. Solomon, Deborah (17 August 2012). "California Dreams". The New York Times . Retrieved 12 April 2014. Secret Knowledge: Rediscovering the lost techniques of the Old Masters (Expandeded.). Thames & Hudson; Viking Studio. [150]