Proux Kennels... Chihuahuas on the Beach!
Chihuahua art history pg 1...
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Chihuahua art history pg 1...
Chihuahua art history pg 2...
Chihuahua art history pg 3...
Chihuahua art history pg 4...
Chihuahua art history pg 5...
Vintage chihuahua photos pg 1...
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Dog show humor & cartoons pg 1...
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Chihuahua & dog humor pg 1...
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Chihuahua cartoons pg 1...
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Come with us for a guided tour of art history,
following the tiny footprints of Chihuahuas in fine art.

From ancient Mexican burial sites to the Sistine Chapel in Italy, from the National Art Gallery to the AKC Musuem of the Dog, chihuahuas have been the subject of some of the greatest artists of all time...

Western Mexico, Colima State,
200 B.C.-A.D. 300
Colima Dog Effigy -
Ceramic with red slip paint
North Carolina Museum of Art

The animal most frequently depicted in Colima art is the hairless dog, today known as the Chihuahua. In addition to raising dogs as a food source, many peoples of highland Mexico believed that a dog accompanied a person's soul on the journey into the underworld. Discovery of these dog images in tombs suggests they were intended as companions for the deceased.
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Alessandro Botticelli (Italian, 1444-1510)

 

Scenes from the Life of Moses
(c. 1481-1482)
Sistine Chapel, Rome, Italy

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(detail from panel: "Life of Moses)

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Sandro Botticelli is considered one of the leading painters of the Florentine Renaissance. He developed a highly personal style characterized by elegant execution, a sense of melancholy, and a strong emphasis on line; details appear as sumptuous still lifes. In 1481 Botticelli was one of several artists chosen to go to Rome to decorate the walls of the Sistine Chapel in the Vatican.

 

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Vittore Carpaccio (Italian 1472-1526)

 

Two Women/ "Two Courtesans" (1510)
Oil on wood
Museo Civico Correr, Venice

(detail)
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A Venetian painter, his life is poorly documented, and it is not known with whom he trained, but it is generally agreed that the chief influence on his work was Gentile Bellini. After two major commissions, Carpaccio's career declined, his work seeming old-fashioned, and he remained virtually forgotten until Ruskin revived his reputation in the 19th century. He is now rated as second only to Giovanni Bellini as the outstanding Venetian painter of his generation.



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