The Feline and the Homo-Sapien

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

It is estimated that cats were domesticated about 12,000 years ago for the practical purpose of protecting the surplus of crops from mice. The cats were delighted by the abundance of prey and the people were delighted by the pest control. However, humans have since developed a closer bond with the species and thus have felt it necessary to depict the cats in the works of art that they create. Cat art, in one form or another, has been around as long as cats have. Over the centuries, the creatures have been imagined as goddess, hunter, companion and thief. It is common to associate the kitty with kitsch, especially in the realm of Web 2.0, however it is evident in this body of work that they have also marked their territory in the avant-garde. Cats, although they can be slightly judgemental, make great subjects for works of art as they can evoke feelings of security and affection, or distress and discomfort. They can create a personal connection for the viewer, whether that connection is pleasant or unpleasant. The Feline and the Homo-Sapien examines the representation of cat-human relationships in objects produced throughout time.

Goddess Bastet, Unknown, -0700/-0300, From the collection of: Rijksmuseum van Oudheden
The ancient Egyptian admiration for cats is well-known—and well-documented. Bastet, an Egyptian goddess of love, had the head of a cat. To be convicted of killing a cat in Egypt often meant a death sentence for the offender. They mummified their cats and had cemeteries for them. Ancient Romans held a similar respect for cats and they were seen as a symbol of liberty. In the Far East, cats were valued for the protection they offered treasured manuscripts from rodents.
The Fall of Man, Hendrick Goltzius, 1616, From the collection of: National Gallery of Art, Washington DC
Cats became demonized in Europe during the Middle Ages. They were seen by many as being affiliated with witches and the devil, and many were killed in an effort to ward off evil. In this representation of The Fall of Man, the cat in the lower left-hand corner is Satan in disguise, reminding the viewer not to enjoy what they should condemn.
Cornelis Visscher, The Large Cat, an engraving, 1657/1657, From the collection of: British Museum
It was not until the mid-1600s that the public image of cats began to be celebrated in the West.
Old Man's Treasure (Das Katzchen), Karl Gussow, 1876, From the collection of: Walker Art Gallery, Liverpool
It is apparent here that cats gained their reputation back during this point in time. This kitten is being celebrated and surrounded by humans as if it were a newborn baby.
Tournée du Chat Noir de Rodolphe Salis (Tour of Rodolphe Salis' Chat Noir), Théophile-Alexandre Steinlen, 1896, From the collection of: Zimmerli Art Museum at Rutgers University
Tournee du Chat Noir was a bustling nightclub that was part artist salon, part rowdy music hall. The artist, Théophile Steinlen, illustrated a cat in the promotional poster as he had a great affection for the species. This image became iconic of the stereotypical black cat.
Cat and kitten, Unknown, late 19th–early 20th century, From the collection of: Cooper Hewitt, Smithsonian Design Museum
It was as popular during the late 19th-early 20th century to anthropomorphize cats as it is today. Cats doing human things is an entertaining thought, although this representation is regarded unethical today.
Man with the Cat (Henry Sturgis Drinker), Cecilia Beaux, 1898, From the collection of: Smithsonian American Art Museum
This representation of cat-human relationships needs few words. A depiction of a gentleman who has decidedly been caught at ease and at home, cat on lap, is not a typical image of the time, which is what makes it so spectacular.
Figure of a cat, probably Kyoto ware, 19th century, From the collection of: Smithsonian's National Museum of Asian Art
This ceramic piece pulls on the heart strings and evokes that security and affection we often associate with fat cats.
Karakediler / Black Cats, Selma Gürbüz, 1991, From the collection of: Sakıp Sabancı Museum
Selma Gurbuz' abstract rendering of two black cats demonstrates the semiotics of cat art and how iconic and simply recognizable their physical form can be.
Girl with a Cat, Julie Held, 2000, From the collection of: Ben Uri Gallery and Museum
It is evident that in Western contemporary culture, cats are superstars.
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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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