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(bapt Rotterdam, 20 Dec 1629; bur Amsterdam, 24 March 1684). Dutch painter. He was one of the most accomplished 17th-century Dutch genre painters, excelling in the depiction of highly ordered interiors with domestic themes and merry companies and pioneering the depiction of genre scenes set in a sunlit courtyard. The hallmarks of his art are an unequalled responsiveness to subtle effects of daylight, and views to adjoining spaces, either through a doorway or a window, offering spatial as well as psychological release.
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| Biography: Pieter de Hooch |
The paintings of middle-class Dutch interiors by the Dutch artist Pieter de Hooch (1629-after 1684) are prized both for the vision of the serenity and order of the life they portray and for their qualities of abstract organization.
Born in Rotterdam in 1629, Pieter de Hooch, or Hoogh, was employed in 1653 as a "servant" and "painter" by a cloth merchant who had homes in both Delft and Leiden and who by 1655 owned 10 paintings by De Hooch. His early works were mainly crowded scenes of the activities of soldiers in their leisure time. In 1654 De Hooch was said to be living in his native city. That year he married a Delft girl, and the following year he was a member of the Delft guild.
De Hooch's best works were painted during his residence in Delft, roughly in the years between 1655 and 1662. They clearly belong to the Delft school, with marked resemblances to the mature works of Jan Vermeer. De Hooch's earliest dated pictures are from 1658, and they show him at the height of his powers. His mastery of elaborate spatial construction is exemplified in the Card Players (1658), where the rectangles of architectural details and furnishings form an abstract pattern in which figures are placed with an effect of the most satisfying equilibrium. The view from the interior to outside areas in this painting is the kind of problem in space representation that characterized De Hooch's works of his Delft period.
The interrelations between De Hooch and his great contemporary in Delft, Vermeer, are not fully understood. They obviously shared an interest in the representation of interior space with figures. De Hooch's style differs from Vermeer's in that his light and colors are warmer, his spatial constructions tend to be more complex, and his figures lack the monumental three-dimensionality of Vermeer's. The faces that De Hooch paints are particularly lacking in conviction; they are weak in both form and characterization.
In the 1660s and 1670s De Hooch lived and worked in Amsterdam. He gradually adopted a more upper-class orientation, with greater emphasis on the elaboration of decoration and costumes. From the later 1660s on his paintings were cold and dry and not above the level of achievement of his generally prosaic followers.
The latest date De Hooch inscribed on a painting was 1684. How long he lived after that and where he died are unknown.
Further Reading
The best study of De Hooch is in German. In English see C. H. Collins Baker, Pieter de Hooch (1925), and N. Maclaren, The Dutch School (National Gallery Catalogues; 1960).
Additional Sources
Sutton, Peter C., Pieter de Hooch, Ithaca, N.Y.: Cornell University Press, 1980.
| Columbia Encyclopedia: Pieter de Hooch |
| Wikipedia: Pieter de Hooch |
Pieter de Hooch (Dutch pronunciation: [ˈhoːx], also spelled "Hoogh" or "Hooghe") (baptized December 20, 1629 – 1684) was a genre painter during the Dutch Golden Age. He was a contemporary of Dutch Master Jan Vermeer, with whom his work shared themes and style.
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De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife. He was the eldest of five children and outlived all of his siblings. He studied art in Haarlem under the landscape painter, Nicolaes Berchem. Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange. His service for the merchant required him to accompany him on his travels to The Hague, Leiden, and Delft, to which he eventually moved. It is likely that de Hooch handed over most of his works to la Grange during this period in exchange for board and other benefits, as this was a common commercial arrangement for painters at the time, and a later inventory recorded that la Grange possessed eleven of his paintings.
De Hooch was married in Delft in 1654 to Jannetje van der Burch, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters Carel Fabritius and Nicolaes Maes, who were both early members of the Delft School. He became a member of the painters' guild of Saint Luke in 1655, and had moved to Amsterdam by 1661.
The early work of de Hooch, like most young painters of his time, was mostly composed of scenes of soldiers in stables and taverns, though he used these to develop great skill in light, color, and perspective rather than to explore an interest in the subject matter. After starting his family in the mid-1650s, he switched his focus to domestic scenes and family portraits. His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. These paintings often exhibited a sophisticated and delicate treatment of light similar to those of Vermeer, who lived in Delft at the same time as de Hooch. 19th century art historians had assumed that Vermeer had been influenced by de Hooch's work, but the opposite is now believed.
Though he began to paint for wealthier patrons in Amsterdam, he lived in the poorest areas of the city. Around this time, de Hooch's painting style became coarser and darker in color, and his simple domestic scenes were replaced by highly-decorated images set in palatial halls and country villas. Most scholars believe that de Hooch's work after around 1670 became more stylized and deteriorated in quality. It has been surmised that this was in part due to deteriorating health; de Hooch died in 1684 in an Amsterdam insane asylum, though how he came to be there is unrecorded.
There are currently 84 paintings attributed to de Hooch:
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