![]() Few British artists have managed to capture the beauty of the natural world or the animal world as well as Landseer, but some of his greatest works have similar qualities to the extraordinary accuracy of George Stubbs, who himself gave us the enchanting Whistlejacket. The Monarch of the Glen remains his signature painting and perfectly captures his work within the UK. She understood the immediacy and accessibility of his paintings, and that Scottish themes alongside her own image could help to encourage others within the nation to embrace her rule with a greater passion. In a form of propaganda, long before the arrival of the modern media, Landseer was used by Queen Victoria to improve and develop her public image within Scotland. This connection to the monarchy also brought about Landseer’s time working in the Scottish highlands, which again added an extra inspiration to his work and supplied an additional genre of work to his final oeuvre. Indeed, Prince Albert was known to have been delighted with his gifted portrait of Eos, his greyhound. They trusted him, and hugely respected his work. To be invited into the personal world of this ruling couple was a rare privilege and their relationship continued for many years, with the artist being given many more projects from there on in. She considered him a particularly clever artist and commissioned him to produce a portrait of her husband's dog, Eos. The artist became very close with Queen Victoria and her husband, Prince Albert. It also ensured that Landseer's paintings will always remain in the public conscience, even if his artistic style falls out of fashion. These paintings opened doors to his career as well as leaving behind some charming portraits of key figures from this era. There was also an additional sphere to his oeuvre which focused on the ruling monarchy of the time. ![]() Whilst being an exceptional piece, there are many other significant works from his career that can be considered its equal. Christopher Wood, Victorian Painting, London 1999, pp.22-3, reproduced p.23, in colour.ĭoes this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.When considering the career of this highly respected painter, one immediately remembers his most famous painting of all - The Monarch of the Glen. The issue was to be decided by Landseer himself, who, according to legend, took one look at Scratch and announced, without any prompting, 'Oh what a beauty!'įurther reading: Richard Ormond, Sir Edwin Landseer, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 1982, pp.112-3, reproduced p.113, in colour. ![]() Bell clearly had a softer spot for the terrier, and, whereas he threatened to shoot Grafton if he dared to misbehave again, he made a bet with the owner of a poodle that Scratch was the more attractive dog. Bell was furious with the bloodhound and left him to die, but, against all odds, the dog recovered from his injuries. The two dogs took an instant dislike to each other and were found the next morning badly wounded and at opposite ends of the building. On one occasion he was locked in a stable with another dog. He was also a tenacious creature with a true fighting spirit. Grafton was an occasional visitor to several artists' studios in London. The former contrasts a Saint Bernard with a King Charles spaniel and the latter a Saint Bernard with a Maltese dog. Landseer went on to produce similar essays in the stately and the ridiculous in Lion and Dash (Badminton, Gloucestershire) and Lion Dog (Royal Collection), both dated around 1840. However, this picture marks a new type of subject in its comical treatment of the two dogs' relationship. Landseer juxtaposes different canine types in a similar way in two separate works, High life (Tate A00702) and Low life (Tate A00703). Moreover, the larger dog is painted in smooth, variegated textures, while the smaller dog comes to life with a few jabbing and expressive brushstrokes. Landseer draws attention to the dogs' 'human' characteristics: the soulful look and gentle dignity of the bloodhound is contrasted with the mischievous expression of the small terrier. The picture's composition parodies the Dutch portrait tradition, whereby the subject is framed by a window, with an arm or hand extending over the edge, just as the bloodhound's paw hangs over the edge of the kennel. Both dogs belonged to Jacob Bell, who commissioned the picture. Here Landseer wittily contrasts the scale and character of a bloodhound called Grafton and a West Highland terrier called Scratch. Many, including this work, 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 celebrated works and Dignity and Impudence remains the most popular of all.
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