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Famous Artists' Cats And Their Stories

What Is Cat Art Today?

What Is Cat Art Today?

Part One

Cat Art Is And Isn't


Images are everywhere, but what is cat art today, really?

First, let’s be clear that all images of cats are not art, and all art with cats in it is not cat art. Anyone who surfs the internet sees an abundance of beautiful images of cats. Beauty is almost always part of their nature, but beauty isn’t art either. You can take an exquisite picture of your cat, but like life itself, it isn’t art until something happens to unsettle the stillness.

Through history, many famous paintings have entered the public space that include cats in ancillary roles. Some are artfully active. Hogarth’s oil of The Graham Children from 1742 is a good example. Four lovely children pose in formal dress, each with heartwarming smiles that will forever remind the family of the halcyon days of childhood. The most unforgettable element though is the gray tiger-striped cat perched behind a chair on the right, his grinning visage the image of insanity.

I love that painting, but it isn’t cat art. It’s a predictably unusual Hogarth with a cat in it. To be cat art, the cat has to be the central element. Paul Klee’s Cat and Bird oil and ink from 1928 is a good example as is Louise Bougeois’ inventive drypoint and engraving Angry Cat from 1999.

Klee’s cat is expressed in cartoonish colors, suggesting his cat is amused as well as predatory, and both pictures are extreme close ups. Bourgeois’ cat is so angry, she has gone cross eyed and rings of stress line her face like strings of jewels. Her anger is extreme and exquisite. 

To be cat art, it must say something about the cat or cats. It doesn’t have to be pretty, but it does have to create or interpret, essentially doing something more than sitting still. 

You can see the images mentioned above and more at Cats From Art History.

Illustration: The Office Cat (Inspired by Vuillard)

Cat Art Early History


Numerous examples exist of art preserved from ancient history, back to the dawn of civilization when man domesticated cats (or was it the other way around). In her book The Cat: 3500 Years Of Cat Art, Caroline Bugler traces cat art back to a transitional time when cats share Egyptians’ home lives while retaining markings more like wild cats than we see today. You see them decorating tombs and even mummified. And not just that – these ancient cats are seen doing what our cats do today: hunting fish and fowl and hankering for bowls of food served at home. 

Egyptian cats were symbolic and usually associated with females in the household. They seem more revered than other domestic creatures. Maybe their innate mysteriousness was misinterpreted as magic. This we learn from their depiction in some of the oldest art in recorded history. 

If lions count – and why shouldn’t they? – the oldest cat art goes back much farther, 32,000 years, in fact, to the “lion lady” (originally lion man) statue found in Stadel cave in Hohlenstein Mountain in the German Alps. Just like 21st Century anthropomorphism, human and animal attributes merged into symbolism. 

Cats weren’t the only creature to get the treatment in art preserved in caves, but a huge gap exists between the mysterious ancient creations and those more explicable in early recorded time. The cave art is mysterious because we have only guesses about why peoples for whom life was a daily struggle for survival would so consistently across the world devote precious time and resources to create art.

Anyway, the cat emerges in art in broad daylight over 3,000 years ago as a less anthropomorphized creature and more often one regarded as a god or at least god-like. Domestic cats snoozing under chairs are as common as those pampered as deities. People being what they have always been, it’s a fair guess that the otherworldly were more likely to be preserved. 

It’s possible that enough everyday cat art to fill a pyramid got tossed like kids’ drawings as age rendered them irrelevant. 

To be continued....


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How A Cat Joined Bonnard's Bathers

 Bonnard Bathers With A Cat, Cat Art, Deborah JulianPierre Bonnard (1867 - 1947) is an artist easy to love. Almost without exception, his post-impressionist paints are beautifully rich with color and intimate detail, their greatness sustained by masterful composition. Cats can be seen in his domestic scenes as can be dogs. Bonnard comes off as an intense lover of life who revelled in replicating it, enhanced by expression, on canvas.

The only preoccupation that rivaled painting for him was his wife Marthe, his muse, painted dozens of times, often nude. No one ever questioned Bonnard's orientation or his devotion to his lifetime partner. 

Only once, that I could find, did Bonnard include multiple bathers, and it's an odd one. In a colorful painting, Marthe's shapely legs are seen extending through the water in a tub. Legs only, and the tub is cut off at the edge of the frame. A second figure, still wearing a robe, is just stepping into the scene from the right, maybe ready to jump in with Marthe or waiting her turn. A puzzling narrative with partial figures unusual for Bonnard. 

The painting was too much for George. A smart cat is never satisfied with an unresolved composition. Moreover, most cats are champion bathers, grooming themselves to silky perfection, and they don't need to jump in water to get the job done. 

Before long, George joined the bathers, establishing a central point of balance between between the tub-soaking women. Securely in the frame, he began to groom with meticulous enthusiasm. 

Trending Now At Deborah Julian Art:

Famous Artists With And Without Cats

 Not thinking much about artists and cats, we recently took a breather from the mad rush toward the Christmas markets to spend an afternoon at MOMA. We're members and take advantage whenever we can. A lot of times, it's for Members Nights or for new shows we may see more than once. This time, however, we had no special goal, just a chance to relax a little and appreciate MOMA's amazing 5th Floor Collection of modern masters.

Our first big surprise came in the first room when we found Picasso's Girl Before A Mirror on a center panel. My apologies for an angled view – there was a crowd and, for some reason, they refused to get out of the way for my iPhone.

Picasso Girl Before A Mirror

MOMA's collection is way too large to have everything up all the time or even some of it any of the time. We hadn't seen Girl Before A Mirror live before, even though Deborah used it as inspiration for her take off on artists and cats, Cat Before A Mirror:


                                                                            Cat Before A Mirror, Picasso inspired, artists cats, Deborah Julian Art


Deborah's first thought was how much more colorful Picasso's original was. The idea of vanity was right, with our cat Sammy a little more modest, but expect updates.

Another inspiration for the artists and cats work, Matisse's Dance I, is almost always on view on the 5th Floor, joined by several other large paintings by the artist most consider a foundation in modern art.

Matisse Dance, modern art

Other than in art books, we saw another similar version this one first in the National Museum in Washington. It seemed to float in space there. At MOMA, it seems more intended as a mural or a stage backdrop. Anyway, it was a great inspiration for one of Deborah's first artists and cats creations, Cat Is Center Of The Universe: 

Cat Art, Cat Is Center of The Universe, Matisse cats, Deborah Julian Art

Here, George gives Matisse's euphoric dancers something to dance about. In his opinion.

The play of artists and cats can be fun and the inspiration to cat art from fine art an energizing one. It takes art of making images of cats up a notch, nudged closer to the masters. Now, if we can only figure out why Picasso and Matisse, both of them well-known cat lovers, did get the idea first.

Trending now at Deborah Julian Art:

Cat In Vuillard's Office

 Sammy can't be fairly blamed for what he did in Edouard Vuillard's office. 

Vuillard Interior - Wiki MediaVuillard was a post-impressionist, members of the Nabis, who used their art to convey inner feelings and emotions. Sammy, of course, is a cat and a master at conveying inner feelings and emotions, and after being shown prints of paintings by Vuillard, he was feeling edgy.

In Sammy's opinion, inner feelings are that dark only when somebody forgets to turn on the light. Emotions are not gray and brown. He thought Vuillard needed some help.

So, one day when he was full of energy and had no one around to entertain him, Sammy pulled off the cat trick of stepping into artwork from a hundred years ago. In Vuillard's Office, he felt a little cramped and antsy. The place was far too orderly and dark.

He soon tired of cleaning his nails by pulling on the carpets, feeling an irresistible urge to "up." The nearest "up" was a high table, but he was up to the leap. Landing, he was surprised to find rows of neatly stacked pieces of paper, what people call mail and cats see no use for. It was too orderly and, really, in need of liberation.

Before returning to his current home in New York City, Sammy set free a few rows of paper, hoping he'd left a good example behind.

Vuillard's Office, Cat Art, Deborah Julian Art

The Office Cat by Deborah Julian



Now trending at Deborah Julian Art:

Story of The Cat in Matisse's Dance (I)

Henri Matisse loved cats. Photographs prove that cats, likewise, loved him. 
Matisse With Cat
Matisse had studio cats, and they sometimes advise him. As cats have with many famous artists, Matisse’s cats influenced his paintings, even when they weren’t actually in them. 

Still, little has previously been known about the role his studio cat, George, played in one of his best known masterworks – the first version of Dance, now in the Museum of Modern Art In New York City. In 1909, when Matisse painted Dance (I), he was still considered a fauve, or Wild Beast, by the French art establishment that resented the paintings he and other fauvists did as too radical or raw with colors that gave a new look to traditional paintings. 

Obviously, George didn’t care what the critics thought. He loved to lounge in Matisse’s studio, watching the artist and his models work and occasionally requesting snacks or some string for fun. Often, Matisse’s models would tickle him under the chin until “the boss” insisted that they all get back to work. George returned to one of several cozy spots where he could do the cat thing without being disturbed. 

It’s worth noting that nobody really knows what’s going on in cats’ minds when they stare into space for long period or fade off into that semi-sleep they sink into when people aren’t doing anything interesting. George was a master at semi-sleep. He could pop up into complete wakefulness with agility in seconds. This led visitors to Matisse’s lab to suspect that he had mastered teleportation, too, since he seemed to make faster than light quantum leaps in response to, for example, anyone opening a container of cheese. 

This claim is unsubstantiated because... well, because nobody ever really saw him do it. He was just here and there so instantly he seemed to be in both places at once. No fuss, either. He was found to be either grooming elegantly or patiently awaiting a plate with crumbled cheese to be delivered. 

So, we assume that George was doing his regular cat thing all the time Matisse worked on Dance (I)
Matisse With Cat

Unique for Matisse, the work is a complete fantasy. He painted it without models in the studio because no dancer or acrobat could hold those positions long enough. Five ecstatic nudes, hands joined, whirl across a green mound with a perfect blue background. The background, simple and luscious with only two colors, seems to be there only because something has to be. 

Matisse once called the composition, "the overpowering climax of luminosity." 

But George, having watched the painting filling a large canvas for days, saw it differently. Between himself and Matisse, Dance (I) was all about joy and fun, not anything highfalutin. He shared with his friend, the famous artist, the insight that the painting was really about the kind of happiness cats deliver to willing spirits. 

Matisse Confers with CatMatisse painted a second, more deeply colored version of Dance a year later, but George believed the first was the only cat-inspired version. Determined to clarify any misunderstandings about Dance, he quantum leaped into cat artist Deborah Julian’s workshop to inspire a corrected version of the masterpiece: Cat Is The Center Of The Universe, seen below. Now, people all over the world have insight into what all that ecstatic dancing was about. 

Matisse’s spirits are celebrating George forever.





Cat Art, Matisse Dance with Cat, Deborah Julian Art