{"id":265,"date":"2026-05-29T13:38:17","date_gmt":"2026-05-29T13:38:17","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=265"},"modified":"2026-05-29T13:38:17","modified_gmt":"2026-05-29T13:38:17","slug":"what-dogs-see-when-they-look-at-us","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=265","title":{"rendered":"What Dogs See When They Look at Us"},"content":{"rendered":"
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A dog\u2019s death is like no other. Not worse<\/em> than any other, of course. But unlike<\/em> any other, inasmuch as the disparity between the loss and the profound grief it provokes is so bewildering to outsiders and even to those who feel it. When our family Havanese, Butterscotch, died a while ago, after thirteen years of a happy-go-lucky, charming, loving, and greedy existence, I could scarcely walk through Central Park without shutting my eyes, since tears flooded them when I saw other dogs running and playing freely, as she had done for so long. Dog grief somehow passes beyond \u201cappropriate\u201d sadness into unfathomable feeling.<\/p>\n

Read more \u201cHacks\u201d Gave Us an Odd Couple for the Ages<\/a><\/p>\n

Why is this so? Because our dogs love us unconditionally? Well, so do our parents, and when, after a long life, they die we mourn deeply, but on the whole we manage. Is it because, as some say, we see our dogs every day? We see the Amazon guy every day, too. Maybe part of the explanation has to do with the privacy of the loss. There are no wakes, no shivas, and so the feeling has nowhere organized to go. A family ritual around ashes feels faintly misplaced. The dog did not accomplish anything; it simply was, and its being filled the house.<\/p>\n

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Then, there\u2019s the fact that the dog does not know death until it happens. We understand death as a part of life, and it is our knowledge of mortality that shapes our understanding and makes us human. They don\u2019t. I\u2019m still haunted by our ailing, elderly dog\u2019s large, trusting, liquid eyes looking out at us in the moments before her death: Hey, this is all right, right<\/em>? We\u2019re just here at this crazy doctor place we go to like always, and then we\u2019re going home<\/em>? That was what broke my heart. Butterscotch trusted us absolutely, and we were about to kill her. For her own good, because she was suffering so, because her once rich and bounding life had been reduced to a painful daily struggle, all of that. But she was alive and then she wasn\u2019t, and she didn\u2019t understand it and we had done it to her.<\/p>\n

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That gaze is one I will never forget, and I turned to a new book on that very subject, Thomas\u00a0W. Laqueur\u2019s wonderful \u201cThe Dog\u2019s Gaze: A Visual History\u201d (Penguin Press), with shivering gratitude. \u201cGaze\u201d has become a loaded word of late, modified in sinister ways by \u201cmale\u201d or \u201cwhite,\u201d with the implication that to gaze is to possess or, more likely, to prey upon. Laqueur\u2019s use is benign: dogs have been bred over millennia to meet our eyes with their own, offering a gaze of gratitude rather than one of appetite or fear. Laqueur takes this simple proposition and shows how it has been institutionalized in art, chiefly in paintings of the highest order but also in posters, photographs, and marginal illustrations. His is a work of immensely humane scholarship.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Indeed, it almost defines the difference between scholarly and academic writing. Scholarly writing, like his, is erudite and expansive in its range of reference and knowledge, but it is addressed not just to a nonexpert audience but to a larger humane mission. Laqueur wants to tell us why dogs matter, demystifying his subject while respecting its mystique. Academic writing, by contrast, besides being written for an in-group, often uses its erudition to assert superior understanding, telling us our belief that dogs matter owes less to real affection than to learned affectation. The purely academic version of the same book would be titled \u201cImaginary Friends: Constructing the Canine, 1200-2000.\u201d<\/p>\n

Laqueur begins, bracingly, with his own story: he grew up in a German Jewish family in which dogs were regarded as ornamental rather than beloved. Richard Avedon used to tell a similar tale, which Laqueur cites, of how his<\/em> Jewish family in New York borrowed dogs for family portraits, though they would never have kept one in the house. Laqueur defied that tradition, owning and loving a succession of dogs, and from that fact he moves sideways to another, stranger one: as part of the Zionist \u201cgrounding\u201d of the Jews, the \u201cCanaan dog\u201d was bred and retroactively installed as Israel\u2019s national dog\u2014truly, the invention of tradition on a leash.<\/p>\n

He then returns us to an achingly familiar relic of our long entanglement with dogs: the preserved parallel footprints, in the Chauvet cave, in France, of a canid and a child, perhaps eight or ten years old. (The tracks can be seen in Werner Herzog\u2019s fine film \u201cCave of Forgotten Dreams.\u201d) Laqueur adds to this a bit of recent deduction. Given that the double tracks, dating back about twenty-five thousand years, seem most marked within viewing distance of animal pictures drawn on the cave walls, the child and the dog appear to have been walking into the depths of the cave together to stare at much earlier drawings of a late-Paleolithic horse.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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And then, having established the timelessness of the shared companionship, rooted in the dog\u2019s ability to \u201csee us\u201d in every sense, Laqueur\u2019s erudition leads him to jump not to Charles Darwin, the student of animal emotion, but, more surprisingly, to Adam Smith\u2019s theory of social sympathy. The dog is, so to speak, a freeloader on our belief in sympathetic exchange. It is party to a social contract that is interpreted differently by those who sign and those who offer it. Our dogs have no idea what society they live within, no idea that this is \u201cNew York.\u201d Their idea of society is of street smells and habitual turns and familiar faces, and this limited awareness on their part reminds us that we, too, doubtless see our place in the universe incompletely, in ways that would be obvious to a higher order of intelligence than our own, one for whom cosmic space-time would be not a difficult concept but a felt reality.<\/p>\n

There is a case to be made that the dog\u2019s gaze is a kind of con game dogs play on us. They are creatures of the nose, above all, olfactory rather than optical in their primary apprehensions. Yet in the course of our coevolution their eyes have come to mimic human eyes. Dogs possess a distinctive trait that allows them to raise their eyebrows in imitation of human expression and to expose the whites of their eyes to us. \u201cSeeing together and seeing one another is the basis of our co-evolution,\u201d Laqueur writes. In one sense, this is an illusion, a sleight of eye, like the way we find the chubby cheeks of squirrels to be cute because they put us in mind of human babies. But the squirrels\u2019 cheeks just lucked out. Dogs\u2019 eyes evolved under selective pressure so that they would seem to look at us the way we look at them.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Laqueur takes the reader on a nearly encyclopedic trip through this truth and its consequences, ranging from Giotto\u2019s dogs\u2014calm, disengaged witnesses to holy stories (\u201cAt a foundational moment of Western art,\u201d he says, \u201cthere is the dog doing what dogs do\u201d)\u2014to Bruegel the Elder\u2019s massed and happy hunting hounds in winter, whose barks we can almost hear penetrating the bitter cold, and to Degas\u2019s chin-lifted greyhound crossing the Place de la Concorde, as alienated as an urban dandy. Laqueur also has something rare, though essential to real scholarship, and that is taste. When he says, in effect, \u201cGood dog!,\u201d he\u2019s right. He recognizes, for instance, that, in the late Quattrocento and beyond, the painters of Venice are the most sensitive to his subject. That might seem surprising for a maritime city where no one could hunt or chase wild animals. But perhaps this is part of the explanation: when dogs are not mainly servants, they can be seen more readily as subjects.<\/p>\n

Several pages of \u201cThe Dog\u2019s Gaze\u201d are devoted to the most memorable little dog in art, the one in Carpaccio\u2019s late-Quattrocento painting of St. Augustine in his beautiful Venetian study. The Maltese\u2014who watches his master as the translucent apparition of St. Jerome appears at his study window\u2014is alert and attentive without being capable of complete apprehension. We are reminded of dogs as an intermediary between mankind and the rest of creation, both sublunary and celestial; dogs remind us daily of our animal selves and are audience to our higher moments. Laqueur ignores, though, a small but significant fact in this scene: the Maltese is facing, directly across it in the tiny Venetian chapel where the picture lives, an image of St. George defeating a dragon, and the path from dragon to dog is surely the implicit subject of the chapel\u2019s iconography. The good life is a procession from the dragon who lives within us to the dog who barks beside us.<\/p>\n

Among the Venetians who came after Carpaccio, Titian, too, gets his due in \u201cThe Dog\u2019s Gaze,\u201d while Veronese, whom Kenneth Clark considered the greatest dog-lover of the Renaissance, enters in the episode in which, having placed dogs alongside dwarfs and clowns in his \u201cLast Supper,\u201d he was summoned by the Inquisition and forced to explain himself. Though Laqueur insists that this was not \u201ca Galileo moment,\u201d it was still charged: the presence of dogs made for a vulgar atmosphere in a divine setting. Significantly, Veronese did not argue, as a contemporary art historian might on his behalf, that dogs were symbols of fidelity or faith. He admitted that they were just dogs being doggy, then shrugged and changed the painting\u2019s name from \u201cThe Last Supper\u201d to \u201cThe Feast in the House of Levi,\u201d an obscure incident in the Gospel of Luke but one genre-like enough to pass as a mere scene of everyday life. (Though, as Veronese perhaps knew, this is the episode where Jesus defends his dining with publicans and sinners, which might justify the mixed company in the painting.)<\/p>\n

Read more \u201cGreater New York\u201d Takes the Pulse of the City<\/a><\/p>\n

Dogs in Renaissance art are faithful but not divine. Their symbolic role is usually secondary to their real presence. Laqueur points out a disturbing, unforgettable instance of this in Titian\u2019s \u201cFlaying of Marsyas\u201d: as Apollo skins the satyr alive for challenging him to a music contest and then losing it, a small dog eagerly laps up the spilled blood. The enduring animalness of the dog (Lucian Freud called it \u201canimal pragmatism,\u201d explaining why he wanted his people to resemble dogs) is one reason that the species can never be simply inducted into piety.<\/p>\n

Indeed, there are aspects of a dog\u2019s existence which resist crossing over into art. An inordinate amount of the time we spend with our dogs deals with defecation. We become as acclimated to their moods and needs in this direction as we are to our own. We even spend, in New York, much of our days with small plastic bags in hand, in a beautiful demonstration, which Adam Smith would have loved, of the delicate dance of both social obligation (there\u2019s a law!) and social sympathy (no one enforces the law but the participants in the practice it governs). The exception to this pattern of absence seems to be Rembrandt, whose etching \u201cThe Good Samaritan\u201d includes a large, defecating hound. The Met\u2019s catalogue says that this is just a vulgar detail, but one suspects a poetic purpose here as well. The pragmatic dog is true to its nature and does not care about doing what it does where it does it. The man in the etching, the Good Samaritan, can transcend his nature, his inherent tribalism, and offer loving aid to one not of his own kind. (Or, perhaps, the Samaritan is following his true inner nature, the call to be kind, as the dog is answering its own call of nature?)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In the art history of the twentieth century, Laqueur is responsive to Matisse\u2019s dogs. We seldom think of Matisse as a painter of dogs, but Laqueur is quite right that the artist has created some of the most charming images of them. The discussion occurs within a more tangled argument about the representation of dogs, beginning with D\u00fcrer, as symbols of melancholia. And, indeed, Matisse\u2019s dogs, like D\u00fcrer\u2019s, are often withdrawn, curled up asleep. But Laqueur sees that this Matissean melancholy is of a peculiarly happy kind. For instance, the dog sleeping beneath a blossoming magnolia branch in \u201cInterior with Dog,\u201d from 1933, resembles not so much Giotto\u2019s watching dogs as the sleeping patriarchs they watch, Joseph and Joachim, content to withdraw into the circle of their slumber as glory goes on around them. Dogs can sleep through it all and delight us as they do. (There is also the strange affinity between Matisse\u2019s dogs and those of The New Yorker\u2019s<\/em> James Thurber, both drawn in deliberately childlike outline, though Thurber was na\u00efve by nature and Matisse by choice.)<\/p>\n

Laqueur\u2019s book has no particular thesis to hobbyhorse for, and yet a unified-field theory of aesthetic dogginess might be distilled from its pages. Dogs live within a neat symbolic divide. On the one hand, they represent courage, an intrepid readiness to take risks on behalf of their beloved; on the other, they represent loyalty, a refusal to be removed from the presence of their families. The dog in art both walks ahead with the hunters and stays behind with the gatherers.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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These two things are not necessarily reciprocal. Brave men and women are often loners; loyal people are often timid homebodies. Dogs are both. To be both courageous and clingy is their unique moral charm. Even the smallest dogs will bark ferociously at the apparent entrance of an intruder, not calculating the odds but obeying their inbred sense of duty.<\/p>\n

And within this reality lies a stranger one. Dogs are moral creatures without anything like moral volition. They are themselves representations. They are little poems we have written over generations on the themes of love and loyalty, courage and caution. We have bred them to inhabit and exhibit emotions, even contradictory ones, that we admire. They are loving because the ones who were less loving, more skeptical of the deal, were not allowed to have as many puppies as the ones who sprang at it, and they are daring because those judged too skittish were not allowed to have as many puppies as the ones who charged at enemies. We overwrote the wolf genome with our own dreams. Dogs impersonate virtues because they\u2019ve been bred to, and turning our intuitions into their instincts is a kind of magic trick we play on one another.<\/p>\n

Sometimes our poems on the themes of ferocity and fearlessness can be cruel to the dogs who must enact them. We have bred the pit bull and the mastiff to express our aggression and rage. Yet there is no love greater than that of the pit-bull owner for the rescued pit, exactly because the other side of the wolf, pack loyalty and a desire for love, can emerge so readily. For at the same time as we delight in dogs, somewhere deep down we recognize how precarious that construction is. If our dog went feral, as the majority of dogs on the planet already are, its exquisite balance of courage and camaraderie would be ripped apart, and desperate for food, as most animals on the planet are, it would, like its cousins the jackals, scavenge even dead human bodies. Indeed, there is a scary but well-established truth: even a beloved household pet will eat our remains if left alone with our lifeless bodies. That is something our children, in similar circumstances, would not do. Or so we hope.<\/p>\n

Dogs embody both the ferocity of instinct and its fragility. The dog will do what its genome tells it to do, and its genome can be remade to have it do things it would not have thought of doing. Dogs teach us about empathy, joy, and unconditional love, but they do so because we have taught them to teach us. It is this double life of dogs, as unreasoning creatures governed by instinct and as moral exemplars practicing virtue, which makes us love them, and which comes alive in art.<\/p>\n

Laqueur tells us that his own dog, beside him as he composed most of \u201cThe Dog\u2019s Gaze,\u201d died before its completion. Yet he leaves out the gaze that our dogs turn on us at the end, the one that for many is the most haunting of all. Doubtless, we project attributes onto dogs\u2014sociability, altruism, compassion\u2014which are of a higher order than they can regularly possess. But the trust we see in their gaze (I\u2019m safe here, I\u2019ll be fed, you won\u2019t ever hurt me<\/em>) is all the more powerful because it is so real. And because that trust is the other side of fear\u2014the other universal animal emotion that we share\u2014violating it, even for their own good so that they will not end their lives afraid and in pain, feels like a profound betrayal.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Two years after losing Butterscotch, we got another sand-colored Havanese, all but indistinguishable from her predecessor, or so our amused neighbors insisted. But Rosie\u2014introverted, suspicious of strangers, not flirtatious but deeply loving, checking on everyone like a night nurse before going to sleep herself, not promiscuously social but trusting of a handful of people and other dogs\u2014is an utterly new being, complete unto herself. When we share a poached egg on a coffee-shop terrace, she doesn\u2019t beg for more, as her predecessor did, but looks up with almost unbearable tenderness: Thank you<\/em>. The animal avatar of my wife, her chief friend, Rosie is delicate, elegant, and pretty. \u201cShe has human eyes,\u201d more than one passerby in the park has marvelled. She does. Her eyes see everything but the inevitable, essential thing. One day, they will, as we both know and somehow can\u2019t imagine.\u00a0\u2666<\/p>\n

Read more \u201cPower Ballad,\u201d Reviewed: A Bromantic Conflict Over a Hit Song<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Adam Gopnik reviews \u201cThe Dog\u2019s Gaze: A Visual History,\u201d by Thomas W. Laqueur.<\/p>\n","protected":false},"author":1,"featured_media":264,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[],"class_list":["post-265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"\nWhat Dogs See When They Look at Us - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=265\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What Dogs See When They Look at Us - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Adam Gopnik reviews \u201cThe Dog\u2019s Gaze: A Visual History,\u201d by Thomas W. 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