However, even in these scenes of motion, relationship is already present. The dog does not run for itself alone. It runs within a human framework of hunting, training, and cooperation.
Other works, such as Paul Klee’s Hund, simplify the dog’s form into structural gesture, suggesting an analytical understanding of the animal body.
The turning point in this section is the work of Eadweard Muybridge. His motion studies break down the gallop of a dog into sequential frames, transforming the representation of the canine body into a scientific study of locomotion.
This unit therefore asks a fundamental question: how can a dog be understood not as an image, but as a moving body with its own structural logic?