GENERAL DESCRIPTION
This study of a hunting dog was made from life, based on close observation of the animal’s characteristic movements. Working quickly, Jean-Baptiste Oudry captured the hound’s running stance, weight back on its haunches, and its open, baying mouth as it alerts the rest of its pack to the movement of the game. Oudry was Louis XV’s favorite painter of the hunt, and he spent much time at court observing the royal hunt and painting the king’s favorite hunting dogs. This informal study reveals Oudry’s quick eye and deft hand at capturing the anatomy and movements of animals.
Excerpt from
Heather MacDonald, DMA label copy, 2012.
NOTES
n.d. (Change to artist's life dates)
AFTER EDITING, SEND TMS INFO TO BMAC FOR ARCHIVING
Related object: 29.2004.8 Oudry, Water Spaniel Confronting a Heron
former number according to education doc- T43007.27
Checked Piction
We can see Jean-Baptiste Oudry's working method in these images ofa lively spaniel. From a quick sketch at the left, to a more finely drawn sketch on the right, he finished with the drawing in the center. Here he includes an animal caught in action, with shimmering light reflecting off soft, thick fur. It is easy to see why he was famous as an artist who specialized in the depiction of animals.
The artist used studies similar to this in creating finished masterworks such as the Water Spaniel Confronting a Heron in the Rosenberg Collection, also on display in this exhibition.
From- didactic and label copy in education files, no date or author.
Jean-Baptiste Oudry (16861755)
Study ofa Hound Baying
Oil and charcoal on paper
Jacqueline Kennedy Onnasis sale, formerly in the Kennedy White House
This beautiful drawing is typical of Oudry's working methods. Such small sketches would be executed either from life or after his own paintings in preparation for a large oil, composition. Oudry was one of the greatest draughtsmen of the 18th century. Like his teacher, Nicolas de Largilliere, he relied upon these detailed studies to inform his compositional inventions with the liveliness of direct observation from nature. Studies like this one probably underlie the compelling vivacity of the Rosenberg Water Spaniel Confronting a Heron on display around the corner in this room.
Eik Kahng, The Michael L. Rosenberg Collection (Dallas, TX: Dallas Museum of Art, n.d.), 25.
Oudry himself was deeply invested in the depiction of the dogs that served as the protagonists of his paintings. In preparation for his paintings, Oudry produced many studies of dogs, including an undated mixed-media sketch in the Rosenberg Collection that shows Oudry experimenting with ways to capture the dog in motion (fig. 55). In this closely cropped view, the dog comes bounding toward us, mouth open and slobbery, teeth bared, nose aloft, and genitals clearly evident. This is a preliminary sketch; Oudry was still experimenting with different poses, with less worked-out versions of the dog’s head at left and right. But the artist took the time to lay in a shadow underneath the central dog’s feet, creating a sense of three-dimensionality and instantaneity in a sketch that only measures about ten by twelve inches.
Amy Freund, "Good Dog! Jean- Baptiste Oudry and the Politics of Animal Painting," 67-80, in French Art of the Eigteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art, Heather MacDonald ed. Dallas Museum of Art and the Michael L. Rosenberg Foundation, distributed by Yale University press, New Haven, CT, 2016.
Jean-Baptiste Oudry was deeply invested in the depiction of the dogs that served as the protagonists of his paintings. In preparation for his painted animal scenes, Oudry produced many studies of dogs, including this undated mixed-media sketch in the Rosenberg Collection. Here Oudry experiments with ways to capture the dog in motion. In the closely cropped view of “Study of a Hound Baying,” the dog comes bounding toward us, mouth open and slobbery, teeth bared, nose aloft, and genitals clearly evident. This is a preliminary sketch; Oudry was still experimenting with different poses, with less worked-out versions of the dog’s head at left and right. But the artist took the time to lay in a shadow underneath the central dog’s feet, creating a sense of three-dimensionality and instantaneity in a sketch that only measures about ten by twelve inches.
Adapted from
Amy Freund, "Good Dog! Jean-Baptiste Oudry and the Politics of Animal Painting," in “French Art of the Eighteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art,” ed. Heather MacDonald (Dallas, TX: Dallas Museum of Art and the Michael L. Rosenberg Foundation, 2016), 73.
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13316571: UMO Good Dog! Jean-Baptiste Oudry and the Politics of Animal Painting
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- National Gallery of Art, Washington, DC~Read a biography of Jean-Baptiste Oudry.
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General Description
This study of a hunting dog was made from life, based on close observation of the animal’s characteristic movements. Working quickly, Jean-Baptiste Oudry captured the hound’s running stance, weight back on its haunches, and its open, baying mouth as it alerts the rest of its pack to the movement of the game. Oudry was Louis XV’s favorite painter of the hunt, and he spent much time at court observing the royal hunt and painting the king’s favorite hunting dogs. This informal study reveals Oudry’s quick eye and deft hand at capturing the anatomy and movements of animals.
Excerpt from
Heather MacDonald, DMA label copy, 2012.
Fun Facts
Archival Resources
Web Resources
Notes
n.d. (Change to artist's life dates)
AFTER EDITING, SEND TMS INFO TO BMAC FOR ARCHIVING
Related object: 29.2004.8 Oudry, Water Spaniel Confronting a Heron
former number according to education doc- T43007.27
Checked Piction
We can see Jean-Baptiste Oudry's working method in these images ofa lively spaniel. From a quick sketch at the left, to a more finely drawn sketch on the right, he finished with the drawing in the center. Here he includes an animal caught in action, with shimmering light reflecting off soft, thick fur. It is easy to see why he was famous as an artist who specialized in the depiction of animals.
The artist used studies similar to this in creating finished masterworks such as the Water Spaniel Confronting a Heron in the Rosenberg Collection, also on display in this exhibition.
From- didactic and label copy in education files, no date or author.
Jean-Baptiste Oudry (16861755)
Study ofa Hound Baying
Oil and charcoal on paper
Jacqueline Kennedy Onnasis sale, formerly in the Kennedy White House
This beautiful drawing is typical of Oudry's working methods. Such small sketches would be executed either from life or after his own paintings in preparation for a large oil, composition. Oudry was one of the greatest draughtsmen of the 18th century. Like his teacher, Nicolas de Largilliere, he relied upon these detailed studies to inform his compositional inventions with the liveliness of direct observation from nature. Studies like this one probably underlie the compelling vivacity of the Rosenberg Water Spaniel Confronting a Heron on display around the corner in this room.
Eik Kahng, The Michael L. Rosenberg Collection (Dallas, TX: Dallas Museum of Art, n.d.), 25.
Oudry himself was deeply invested in the depiction of the dogs that served as the protagonists of his paintings. In preparation for his paintings, Oudry produced many studies of dogs, including an undated mixed-media sketch in the Rosenberg Collection that shows Oudry experimenting with ways to capture the dog in motion (fig. 55). In this closely cropped view, the dog comes bounding toward us, mouth open and slobbery, teeth bared, nose aloft, and genitals clearly evident. This is a preliminary sketch; Oudry was still experimenting with different poses, with less worked-out versions of the dog’s head at left and right. But the artist took the time to lay in a shadow underneath the central dog’s feet, creating a sense of three-dimensionality and instantaneity in a sketch that only measures about ten by twelve inches.
Amy Freund, "Good Dog! Jean- Baptiste Oudry and the Politics of Animal Painting," 67-80, in French Art of the Eigteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art, Heather MacDonald ed. Dallas Museum of Art and the Michael L. Rosenberg Foundation, distributed by Yale University press, New Haven, CT, 2016.
Jean-Baptiste Oudry was deeply invested in the depiction of the dogs that served as the protagonists of his paintings. In preparation for his painted animal scenes, Oudry produced many studies of dogs, including this undated mixed-media sketch in the Rosenberg Collection. Here Oudry experiments with ways to capture the dog in motion. In the closely cropped view of “Study of a Hound Baying,” the dog comes bounding toward us, mouth open and slobbery, teeth bared, nose aloft, and genitals clearly evident. This is a preliminary sketch; Oudry was still experimenting with different poses, with less worked-out versions of the dog’s head at left and right. But the artist took the time to lay in a shadow underneath the central dog’s feet, creating a sense of three-dimensionality and instantaneity in a sketch that only measures about ten by twelve inches.
Adapted from
Amy Freund, "Good Dog! Jean-Baptiste Oudry and the Politics of Animal Painting," in “French Art of the Eighteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art,” ed. Heather MacDonald (Dallas, TX: Dallas Museum of Art and the Michael L. Rosenberg Foundation, 2016), 73.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Oil and charcoal on paper
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
13316571: UMO Good Dog! Jean-Baptiste Oudry and the Politics of Animal Painting
VIDEO ASSETS
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