Top 100 - The 100 most famous animal paintings
The 100 most famous animal paintings
From Fabritius and Stubbs to Rosa Bonheur, Rousseau and Franz Marc: a hundred paintings where the animal becomes presence, movement and symbol
This ranking brings together one hundred animal paintings by 30 artists from European and American traditions.
One hundred paintings dedicated to the living world
When the animal becomes the real subject
Western painting has long depicted animals in religious stories, hunting scenes, and symbols of power. The animal genre asserts itself when the anatomy, behavior, and presence of living things become autonomous pictorial problems, capable of organizing the entire picture.
Animal painting begins when the horse, dog, bird or beast ceases to be a detail and organizes the entire picture.Switch to images
Classification in images
Bonheur, Stubbs, Landseer, Fabritius, Goya, Rousseau and Marc open the route with images that have become emblematic of the genre.
#1
The horse market
At rank 1, "The Horse Market" by Rosa Bonheur belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#2
Whistlejacket
At rank 2, "Whistlejacket" by George Stubbs belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#3
The monarch of Glen
In rank 3, "The Monarch of Glen" by Edwin Henry Landseer belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#4
The Goldfinch
In rank 4, "The Goldfinch" by Carel Fabritius belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#5
The Swan threatened
At rank 5, "The Threatened Swan" by Jan Asselyn belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#6
The dog
At rank 6, "The Dog" by Francisco de Goya belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#7
Surprised! /Tiger in a tropical storm
At rank 7, "Surprised! /Tiger in a tropical storm" by Henri Rousseau belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#8
The lion, hungry, throws himself at the antelope
In rank 8, "The lion, hungry, throws himself on the antelope" by Henri Rousseau belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#9
Horse attacked by a jaguar
At rank 9, "Horse attacked by a jaguar" by Henri Rousseau belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#10
Blue horse I
At rank 10, "Blue Horse I" by Franz Marc belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#11
The Great Blue Horses
At rank 11, "The Great Blue Horses" by Franz Marc belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#12
Animal destinies
In rank 12, "Fate of animals" by Franz Marc belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#13
The Yellow Cow
At rank 13, "The Yellow Cow" by Franz Marc belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#14
Foxes
At rank 14, "Renards" by Franz Marc belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the genre animal. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#15
The wounded deer
At rank 15, "The Wounded Deer" by Frida Kahlo belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#16
Horse attacked by a lion
At rank 16, "Horse attacked by a lion" by George Stubbs belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#17
A distinguished member of the Society for the Protection of Animals
At rank 17, "A distinguished member of the Society for the Protection of Animals" by Edwin Landseer belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#18
Dignity and impudence
In rank 18, "Dignity and Impudence" by Edwin Henry Landseer belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#19
The Taurus
At rank 19, "The Bull" by Paulus Potter belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#20
Man proposes, God disposes
In rank 20, "Man proposes, God disposes" by Edwin Henry Landseer belongs to the chapter "the twenty icons of animal painting". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
View product →Races, breeding, plowing and pastoral life show how movement and anatomy structure animal painting.
#21
Mares and Foals in a River Landscape
In rank 21, "Mares and Foals in a River Landscape" by George Stubbs belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#22
Zebra
At rank 22, "Zebra" by George Stubbs belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the genre animal. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#23
The Kongouro of New Holland
At rank 23, "The Kongouro of New Holland" by George Stubbs belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#24
Lincolnshire beef
At rank 24, "The Lincolnshire Ox" by George Stubbs belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#25
Horse racing, traditionally known as The Derby of 1821 in Epsom
At rank 25, "Horse racing, traditionally known as The Derby of 1821 in Epsom" by Théodore Géricault belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking links racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#26
Free horse racing: La Mossa
At rank 26, "Free horse racing: La Mossa" by Théodore Géricault belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#27
Racing horses in Longchamp
At rank 27, "Racing horses in Longchamp" by Edgar Degas belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#28
Jockeys and racehorses
At rank 28, "Jockeys and racehorses" by Edgar Degas belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#29
Horses coming out of the sea
In row 29, "Horses emerging from the sea" by Eugène Delacroix belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#30
Arabian horses fighting in a stable
At rank 30, "Arab horses fighting in a stable" by Eugène Delacroix belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#31
Horse and cattle market
In row 31, "Horse and cattle market" by Philips Wouwerman belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#32
The Highland Shepherd
At rank 32, "The Highland Shepherd" by Rosa Bonheur belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#33
Herd of sheep by the sea
In row 33, "Herd of sheep by the sea" by Rosa Bonheur belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#34
Wild boars in the snow
At rank 34, "Wild boars in the snow" by Rosa Bonheur belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#35
Young bull in a landscape
At rank 35, "Young bull in a landscape" by Paulus Potter belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#36
The Prairie, or Three oxen in a vast meadow
In rank 36, "The Prairie, or Three Oxen in a Vast Prairie" by Paulus Potter belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#37
Cows in a landscape
In rank 37, "Cows in a landscape" by George Stubbs belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#38
Cows
At rank 38, "Les Vaches" by Vincent van Gogh belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#39
THE FARMER AND THE COW
In rank 39, "THE FARMER AND THE COW" by Max Liebermann belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#40
White mare
At rank 40, "White Mare" by Winslow Homer belongs to the chapter "horses, herds and pastoral landscapes". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
View product →Delacroix, Rubens, Snyders, Homer, Liljefors and Courbet confront the animals in pursuit, combat and the natural environment.
#41
The Lion and the Serpent
At rank 41, "The Lion and the Serpent" by Eugène Delacroix belongs to the chapter "the wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#42
Tiger hunting
At rank 42, "Tiger Hunt" by Eugène Delacroix belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#43
Young Tiger playing with his mother
At rank 43, "Young Tiger playing with his mother" by Eugène Delacroix belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#44
Lion hunting
At rank 44, "Lion Hunting" by Peter Paul Rubens belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#45
Hippopotamus and crocodile hunting
At rank 45, "The Hunt for the Hippopotamus and the Crocodile" by Peter Paul Rubens belongs to the chapter "the wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#46
Tiger hunting
At rank 46, "The Tiger Hunt" by Peter Paul Rubens belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#47
Bear hunting
At rank 47, "The Bear Hunt" by Peter Paul Rubens belongs to the chapter "the wild animals, the hunt and the wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#48
Wild boar hunting
At rank 48, "The Wild Boar Hunt" by Peter Paul Rubens belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#49
Bear hunting
At rank 49, "Bear Hunting" by Frans Snyders belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#50
Wild boar hunting
At rank 50, "Wild boar hunting" by Frans Snyders belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#51
Hermines attacked by an eagle
At rank 51, "Hermines attacked by an eagle" by Frans Snyders belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#52
Leopards
At rank 52, "Leopards" by Frans Snyders belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the genre animal. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#53
The Fox Hunt
At rank 53, "The Fox Hunt" by Winslow Homer belongs to the chapter "the wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#54
Wild geese in flight
At rank 54, "Wild Geese in Flight" by Winslow Homer belongs to the chapter "wild beasts, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#55
Fox family
At rank 55, "Family of Foxes" by Bruno Liljefors belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#56
Sea eagles
At rank 56, "Sea Eagles" by Bruno Liljefors belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#57
Falcon attacking a pigeon
At rank 57, "Hawk attacking a pigeon" by Adolph von Menzel belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#58
The Deer Hallali
At rank 58, "The Deer Hallali" by Gustave Courbet belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#59
The Fox in the Snow
At rank 59, "The Fox in the Snow" by Gustave Courbet belongs to the chapter "the wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#60
The Rut of Spring. Deer fight
At rank 60, "The Rut of Spring. Deer fighting" by Gustave Courbet belongs to the chapter "wild animals, hunting and wild life". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
View product →Hondecoeter, Stubbs, Goya, Manet, Klee and Ronner-Knip bring together precise observation, animal portraiture and domestic familiarity.
#61
The Playing Cat
At rank 61, "The Playing Cat" by Henriette Ronner-Knip belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#62
Cat and the Bird
At rank 62, "Cat and the Bird" by Paul Klee belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#63
The goldfish
In rank 63, "The Goldfish" by Paul Klee belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#64
Magic of fish
In rank 64, "Magic of Fish" by Paul Klee belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#65
Bird garden
In rank 65, "Bird Garden" by Paul Klee belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#66
Langh left Den Koningh, or the concert of birds
At rank 66, "Langh left Den Koningh, or the concert of birds" by Melchior de Hondecoeter belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its sound observation and its place in the Western history of the animal genre. The ranking links racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#67
Pelican, crowned crane, hocco, antigone crane and ducks in a river landscape
In row 67, "Pelican, crowned crane, hocco, antigone crane and ducks in a river landscape" by Melchior de Hondecoeter belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works have been excluded.
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#68
Two peacocks threatening a hen with chicks, known as "the threatened hen"
In row 68, "Two peacocks threatening a hen with chicks, known as "the threatened hen"" by Melchior de Hondecoeter belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#69
Goose with outstretched wings
At rank 69, "Goose with outstretched wings" by George Stubbs belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#70
Greenland Falcon
At rank 70, "Greenland Falcon" by George Stubbs belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#71
Norfolk or Water Spaniel brown and white
At rank 71, "Norfolk or Water Spaniel brown and white" by George Stubbs belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#72
Ringwood, a Brocklesby Foxhound
At rank 72, "Ringwood, a Brocklesby Foxhound" by George Stubbs belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#73
Harassed cat
At rank 73, "Harassed Cat" by Francisco de Goya belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#74
Cat fight
At rank 74, "Cat Fight" by Francisco de Goya belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#75
Bob, griffin dog
At rank 75, "Bob, griffin dog" by Édouard Manet belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#76
Dog lying in the snow
At rank 76, "Dog lying in the snow" by Franz Marc belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#77
Two cats, blue and yellow
In row 77, "Two cats, blue and yellow" by Franz Marc belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#78
Three cats
At rank 78, "Three Cats" by Franz Marc belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#79
The green parrot
At rank 79, "The Green Parrot" by Vincent van Gogh belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#80
Large Night Peacock
At rank 80, "Grand Peacock of Night" by Vincent van Gogh belongs to the chapter "birds, dogs, cats and pets". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
View product →Marc, Kandinsky, Klee, Munch and Van Gogh free the animal from imitation alone and make it a language of shapes and colors.
#81
The Tiger
At rank 81, "The Tiger" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#82
The Little Yellow Horses
At rank 82, "The Little Yellow Horses" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#83
Red Bull
At rank 83, "Red Bull" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#84
Deer in the forest II
At rank 84, "Deer in the Forest II" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#85
Birds
At rank 85, "Birds" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#86
The Monkey
At rank 86, "The Monkey" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#87
The Blue-Black Fox
At rank 87, "The Blue-Black Fox" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#88
Three animals
At rank 88, "Three Animals" by Franz Marc belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#89
The cat
At rank 89, "The Cat" by Edvard Munch belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in history western animal genus. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#90
Couple on horseback
At rank 90, "Couple on Horseback" by Wassily Kandinsky belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#91
The cow
At rank 91, "The Cow" by Wassily Kandinsky belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#92
Camel (in a rhythmic landscape with trees)
In row 92, "Chameau (in a rhythmic landscape with trees)" by Paul Klee belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its sound observation and its place in the Western history of the animal genre. The ranking links racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#93
A Pride of Lions (Take Note!)
At rank 93, "A Pride of Lions (Take Note!)" by Paul Klee belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#94
Shark fishing
At rank 94, "Shark Fishing" by Winslow Homer belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#95
Fish and butterflies
At rank 95, "Fish and Butterflies" by Winslow Homer belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#96
Butterflies and poppies
In row 96, "Butterflies and Poppies" by Vincent van Gogh belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#97
Two Crabs
In rank 97, "Two Crabs" by Vincent van Gogh belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#98
Crab, lying on his back
At rank 98, "Crab, lying on his back" by Vincent van Gogh belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#99
Swans in the reeds at the first light of dawn
In rank 99, "Swanes in the reeds at the first light of dawn" by Caspar David Friedrich belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety singularity of its observation and its place in the Western history of the animal genre. The ranking links racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
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#100
Owl on a tree
At rank 100, "Owl on a Tree" by Caspar David Friedrich belongs to the chapter "modern visions of color, movement and symbol". Here, the animal is not an accessory added to the decor: its posture, its gaze, its movement or its relationship to the environment really organizes the composition. This painting was chosen for its notoriety, the singularity of its observation and its place in the Western history of the animal genre. The ranking connects racehorses, herds, wild animals, birds, dogs, cats and modern visions without confusing naturalistic precision and artistic value. Photographs, posters, stand-alone prints, sculptures, duplicates, fake search results and Asian works were excluded.
View product →What the ranking reveals
One hundred paintings, three ways to make the animal present
The animal genre alternates portrait, story and symbol. It can describe a species with precision, capture a fleeting action or transform living things into inner strength.
Posture replaces speech
Ears, legs, neck, tail and direction of gaze make attention, fear, relaxation or power visible.
Middle gives scale
Snow, grass, water, stable or jungle explain how the animal inhabits the space and how the viewer approaches it.
Color can become instinct
In Marc, Klee or Kandinsky, blue, yellow and red no longer describe just a coat: they give energy to living things.
A Western history of animal painting
Five benchmarks to follow the painted living world
A small bird attached to its perch becomes an autonomous presence thanks to direct light and radical economy.
Anatomical observation and precision of movement give the equine portrait a new scientific and pictorial ambition.
The format, low horizon and description of the herd give the rural animal monumental dignity.
The equine crowd, the circular movement and the large format impose an animal painter at the heart of the Salon.
The symbolic color transforms the observed animal into rhythm, emotion and manifesto of modernity.
Animal painting in depth
When does the animal become a pictorial genus?
Western painting has long depicted animals in religious stories, hunting scenes, and symbols of power. The animal genre asserts itself when the anatomy, behavior, and presence of living things become autonomous pictorial problems, capable of organizing the entire picture.
In the 17th century, Fabritius isolated a goldfinch with radical sobriety, Potter gave the bull the scale of a monument and Hondecoeter transformed parks and farmyards into theaters of plumage, rivalries and movements. Naturalist observation never excludes staging.
In the 18th century, George Stubbs studied horse anatomy with exceptional precision. His equine portraits, mares, foals and exotic animals connect science, breeding, social prestige and composition. Landseer shifts this tradition towards the psychological portrait of the dog and the deer.
In the 19th century, Rosa Bonheur gave the animal world a breadth of history painting. Géricault and Degas seize the race; Delacroix, Rubens, Snyders, Courbet and Liljefors confront the living with pursuit, combat, snow, forest and the vulnerability of the body.
With Rousseau, Van Gogh, Kandinsky, Klee and Franz Marc, the animal also becomes an interior sign. The blue of a horse, the yellow of a cow or the geometry of a fish no longer seek only to copy nature: they transform sensation, rhythm and color into a new form of presence.
Four reading keys
How to look at a painted animal
Anatomy, posture, gaze and environment make it possible to distinguish the simple presence of an animal from a real animal construction.
Observe the supports
Weight, joint and muscle tension indicate whether the body is resting, running, jumping or resisting.
Read Attitude
A tight neckline, round back or open wing is enough to transform the energy of the entire scene.
Measure the relationship
The animal may ignore the viewer, stare at them, or react to an off-camera threat.
Understanding habitat
Decor and climate are not neutral: they determine the scale, vulnerability and behavior of the subject.
Paints, products and references
Continue in the Famous Paintings collection
Frequently asked questions
Animal painting without pretense
The essential benchmarks for understanding the genre, the selection of works, its Western scope and the links to reproductions.
How were the hundred animal paintings classified?
The first twenty bring together the most recognized images. The following four chapters construct a route using major issues: horses and pastures, wild animals and hunting, birds and pets, then modern visions. Rank guides reading without claiming to measure an absolute value.
What's real wildlife painting?
The animal must structure the composition, movement or meaning of the painting. A human figure may be present, but the horse, dog, bird or beast should not remain a simple decorative accessory.
Why do horses play an important role?
Because their anatomy, speed and social role have stimulated several centuries of research. Stubbs, Bonheur, Géricault, Degas and Delacroix show very different solutions, from precise study to moving crowds.
Does the classification only contain paintings?
Yes. Photographs, posters, stand-alone prints, sculptures and objects have been excluded. The selected sheets belong to the store's catalog of pictorial reproductions.
Are there any Asian works?
No. The perimeter follows only European and American traditions, in accordance with the Asian exclusion order.
Do the images exactly match the products?
Yes.
Why does Franz Marc appear several times?
Because it makes the animal the center of its modern language. Horses, cows, foxes, deer, birds and tigers allow us to compare how color, fragmentation and rhythm transform each species without reducing them to a single formula.
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