Abstract
The world is manifested mainly visually, since the image – a complex system of meanings, which gives signification and form to the various culture expressions, highlights the significance of forming educative proposals that contemplate the images variety, observing its particularities which are related to their originating contexts. Therefore, colors, textures, visual and plastics elements distinguished are interrelate to multiples meanings and values, giving form, meaning and identity to the visualities that represents each cultural context. Image production and the resulting attribution of imagistic meaning are, therefore, a cultural phenomenon that represents the society’s esthetical and human characteristics, being the result of social interactions, organization forms, thoughts and actions. Theme of this visuality’s predominance in the esthetical field allows us retrograde to past artistic movements, to analyze the incorporation of hybrid processes in contemporary productions. This work intends to trace a chronological line in history of art in order to comprehend the relation between past artistic expressions and contemporary to the comprehension of canine symbology in the painting area, using art as a way of cultural expression. The methodology used relates the review of articles about concepts and analysis related to symbols artistic expression. Intends to execute a study that allows the art reflection, objectifying the critical and theoretical analysis of art represented by the British artist Mary Herbert who uses animals images, specially dogs, in her works.
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