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The Moral Treatment of Domesticated Dogs in Art and Society

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The Moral Treatment of Domesticated Dogs in Art and Society By the Good Grace: The Moral Treatment of Domesticated Dogs in Art and Society Vicki Hamilton BA Fine Art (Newcastle) BFA (Hons. 1) (Newcastle) MFA (Newcastle) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Fine Art This research was supported by an Australian Government Research Training Program (RTP) Scholarship July , 2019 University of Newcastle, NSW Statement of Originality I hereby certify that the work embodied in this thesis is my own work, conducted under normal supervision. The thesis contains no material which has been accepted, or is being examined, for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital repository, subject to the provisions of the Copyright Act 1968 and any approved embargo. _________________________ Vicki Hamilton Table of Contents Acknowledgements…………………………………………………………………………………………………………….…. i List of Figures…………………………………………………………………………….………………………………....………. ii Abstract…………………………………………………………………………………………………………………….…………… v Introduction…………………………………………………………………………………………………………………………… 1 Chapter One: Dogs without Souls: Early Religious and Philosophical Ideas …………………………….. 5 Early Religious Traditions and Human-Animal Relationships …………... 6 a) Animal Sacrifice ………………………………………………………………..… 7 b) Religious Dominion …………………………………………………………….. 9 Early Philosophical Ideas ………………………………………………………………….. 11 a) Moral Status: Soul and Virtue………………………………………………. 11 b) Aristotle and Animal Soul…………………………………………………….. 12 c) The Romans and Animal Soul………………………………………………. 14 d) Hierarchy and Soul………………………………………………………………. 17 e) Good and Evil Animals…………………………………………………………. 20 Christian Dominion…………………………………………………………………………… 21 Allegorical Relationships representing Good Dogs/Good People ……… 23 Chapter Two: Early Mistreatment of Dogs ……………………………………………………………………... 31 Exploiting Dogs Cruelly…………………………………………………………………….. 31 a) The Renaissance…………………………………………………………………. 31 b) Violence and Cruelty to Animals…………………………………………. 37 c) Use of Dogs Aggressive Characteristics……………………………….. 39 i. Hunting……………………………………………………………….…. 39 ii. Dog Fighting………………………………………………………….. 43 More Sympathetic Treatment…………………………………………………………. 46 a) Dogs as Pets………………………………………………………………………… 49 b) Pedigree Dogs……………………………………………………………………… 53 Chapter Three: A Better Life for Dogs: Compassion and Empathy ………………………………………… 57 The Enlightenment: Compassion and Empathy ………………………….…… 57 Contemporary Society and the Argument for Animal Rights ………..…. 64 a) Morality and Human Behaviour………………………………………..… 65 b) Developing Ideas regarding the Rights of Animals…………….… 65 c) Rethinking Ideas of Dominion……………………………………………… 68 d) Contemporary Rights for Animals……………………………………….. 69 Organisations for the Protection of Dogs and Other Animals ………….. 72 Chapter Four: Contemporary Issues in Greyhound Racing: Death in the Fast Lane ………………. 74 Evidence of Cruelty in Greyhound Racing in Australia……………………… 75 Opposition to the Banning this Sport……………………………………………….. 79 Arguments against the Industry’s Position……………………………………….. 81 The Response of Artists……………………………………………………………………. 84 Chapter Five: Continuing Forms of Exploitation: ‘A Dog’s Life’ ……………………………………….…….. 95 Dogs as Experimental Resources…………….………………………………….……. 98 Dogs as Military Resources………………………………………………………………. 100 Street Dogs………………………………………………………………………………………. 109 Fighting Dogs…………………………………………………………………………………… 112 Dogs as Throwaways………………………………………………………………………… 115 The Pet Industries……………………………………………………………………………. 118 Puppy Farms……………………………………………………………………………………. 120 Chapter Six: ‘Man’s (or Women’s) Best Friend’: Towards Harmonious Human-Dog Relationships ……………………………………………………………………………………….................................... 124 Dogs in Popular Culture: A New Allegory ……………………………………..… 125 a) Dogs assisting Humans ………………………………………………….…… 130 b) Owning Dogs: Mutual Benefits ……………………………………….…. 133 c) The Companionship of Dogs ……………………………………………... 135 d) Artists and their Dogs ……………………………………………….……….. 137 Chapter Seven: Dogs in Art: Contemporary Issues of Representation ……………………………….…. 143 Animals used as Art Objects ………………………………………………………….… 143 Use of Animal parts in Art ……………………………………………………………….. 151 Modification of Dogs’ Features ……………………………………………………..… 155 Forging an Art Practice……………………………………………………………….. 158 Conclusion and Recommendations ..……………………………………………………………………………………… 162 Appendix 1: Animals in War Zones ………………………………………………………………….…………………..…. 165 Appendix 2: Early War Dogs …………………………………………………………………………………………………... 166 Appendix 3: Dogs assist to heal with Post Traumatic Stress Disorder ………………………………….... 168 Appendix 4: Organisations for the Protection of Animals in Australia ……………………………………. 169 Appendix 5: Vicki Hamilton’s previous relevant art projects …………………………………………………… 173 Bibliography ………………………………………………………………………………………………………………………….. 179 Acknowledgments I formally would like to thank the University of Newcastle for supporting me by way of a scholarship during my research. Whilst there are many who have provided extraordinary technical and personal support during the course of my PhD for which I grateful. I wish to first thank my supervisors, Associate Professor Pam Sinnott and Dr Andre Brodyk for their early assistance, and Dr Faye Neilson for her support in the last year of my research, proof reading my exegesis and assisting with finalising my candidature. I would also like to thank my fellow student John Heaney for kindly providing a peer review of the exegesis. I wish express my deepest gratitude to Emeritus Professor Elizabeth Ashburn who has supported me from the first day to the last day of my candidature, guiding me through the muddy waters of philosophy and the rich world of research. Her continuous patience, encouragement and generosity with her time, has deepened my sense of purpose, propelling me on this important journey. On my journey I have had support from many sources. Sharon Taylor, the ceramics technician has provided much valued advice regarding materials and hands on help with loading and unloading kilns. Michael Garth, the sculpture technician and Giselle Penn, technician for fibre have provided invaluable advice and assistance. I would also like to thank my brother Peter for building a specialised plinth to support one of my art pieces. Thank you to the University of Newcastle Gallery staff, who have provided professional assistance promoting and setting up ‘By the Good Grace’ exhibition. i List of Figures Figure 1 Albrecht Durer Adam and Eve, 1504 ….………………………………………………………..… 10 Figure 2 One of Odysseus’s men being turned into swine.5th B.C (Archaic) ………….……… 15 Figure 3 The Year of the Dog, 2018 ……………………………………………………………………………… 23 Figure 4 Hunting Scene, Tomb of Ineni, ca.1550-1470 B.C. …………………………………………. 24 Figure 5 Game of Hounds and Jackals Dynasty 12, ca 1814-1805 B.C. …….………………….. 24 Figure 6 Vanity Sounds the Horn and Ignorance Unleashes the Hounds Overconfidence, Rashness, and Desire (from The Hunt of the Frail Stag), ca. 1500–1525 ………... 25 Figure 7 Old Age Drives the Stag out of a Lake and the Hounds Cold, Heat, Anxiety, Vexation, Heaviness, Fear, Age, and Grief Attack Him, (from The Hunt of the Frail Stag), ca. 1495–1510 ……………………………………………………………………………... 26 Figure 8 Gold finger-ring set with a hessonite garnet intaglio of a deeply cut representation of 'Sirius', the dog-star …………………………………………………………… 27 Figure 9 Speculum humanae salvationis, Manuscript Hs 2505 ………………………………….... 28 Figure 10 Pieter Aertsen, Meat Stall with the Holy Family Giving Alms, 1551………………... 32 Figure 11 Sir Anthony Van Dyck, The Five Eldest Children of King Charles, 1637………….…. 33 Figure 12 Di Puccio Pisano (Pisanello), The Vision of Saint Eustace, 1438 .…………………….. 34 Figure 13 William Hogarth, Four Stages of Cruelty: First Stage, 1751 ………………………..….. 37 Figure 14 Carracci Annibale, Two Children Teasing a Cat, 1587……………………………………... 38 Figure 15 Thomas Hewes Hinckley, Rats Amongst the Barley Sheaves, 1851……………….… 39 Figure 16 Brooch in the Form of a Dog Attacking a Boar, 2nd Century……………………….….. 40 Figure 1 7 Gaston Phoebus - Le livre de chasse, 1387-1389 ……………………………………………. 41 Figure 18 Frans Snyders, The Boar Hunt, ca 1650s ………………………………………………………… 41 Figure 19 Marie-Rosalie Bonheur, Barbaro after the Hunt. ca 1858 …………………………..….. 42 Figure 2 0 George Stubbs, A Couple of Foxhounds, 1792 ………………………………………………… 42 Figure 21 Bearbaiting, 14th Century ………………………………………………………………………………. 44 Figure 22 Staffordshire pottery figure of a bear baiting, ca 1810 to ca 1820 …………………. 44 Figure 23 Johann Christof Merck, Ulmer Dogge, 1705 …………………………………………………... 45 Figure 2 4 William Brodie, Greyfriars Bobby, 1872 ………………………………………………………….. 46 Figure 25 Briton Rivière, Requiescat, 1888 …………………………………………………………………….. 47 Figure 2 6 Sir Edwin Henry Landseer, The Old Shepherd’s Chief Mourner, 1837…………….... 48 Figure 27 Filippo Palizzi, Sleeping Shepherd and His Dog, 1850-1855 …………………………….. 49 Figure 2 8 Chous, Apulian (Greek), 360-350 BC ……………………………………………..................... 50 Figure 29 The Nereid Monument, Greek Frieze 390-380 BC …………………………………….….… 50 Figure 30 Man and Dog, 8th to 7th ca BC Mesopotamia ………………………………………………….. 51 Figure 31 Mon Seul Desir (My Sole Desire) ca 1500, from The
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