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focus to domestic scenes. These were possibly of his own family, though his works of well-to-do women breastfeeding and caring for children could also indicate that he had attended his mother on her rounds as a midwife. Evidence also suggests that de Hooch may have been employed as a servant under Justus de la Grange, an experience which likely influenced his empathetic and nuanced portrayal of servants and domestic workers in his paintings. His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. From the fact he dated a whole series in 1658, whilst he dated very few others, suggests he himself recognised the importance of these paintings.
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504:. In tranquil depictions of homes and courtyards, which appear casually observed and informal, are carefully composed with a sophisticated grasp of perspective and a fine attention to aerial accuracy. Many of these subtly revolutionary paintings revisit themes from his early works, such as merry companies with drinking soldiers, accompanied by their hostesses. However, the dimly lit stables and taverns of his earlier period are replaced by sunlit interiors, gardens, and courtyards of the middle class. De Hooch's
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298:, to which he moved in 1652, settling on Oude Delft 161 with de la Grange. Later, he lived next to the former Saint Hieronymus convent, once situated between Oude Delft and Westvest. 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.
547:, though De Witte soon devoted himself mainly to painting church interior scenes after moving to Amsterdam in 1651. De Witte seems more preoccupied with the rooms themselves, filling his paintings with objects, whilst de Hooch was more interested in people and their relationships to each other, rarely leaving the background of pictures unexplored. This was frequently exhibited, often to exhibit religious
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child and a serving maid, or when he revisited the soldier scenes reminiscent of his earlier days. Though facing minor success with reinterpretations of his Delft period, these instances of self-repetition are devoid of fresh impressions. The paintings are perceived as having an exaggeratedly dark overall tone, and certain prominent colours, notably a sullen
590:. He was thus enabled to paint accurate architectural settings, and the interiors, and to some extent, the light and colour schemes in these paintings are extremely successful. The reference of these public buildings is likely accountable for the overrepresentation of wealth in Dutch households. These works are often associated with the
407:. These works frequently showcase colour combinations typical of the artist's later period, such as a vivid vermilion and lemon yellow, often complemented by a warm dark green or blue in the shadows. Occasionally, backgrounds open into brightly lit adjoining rooms, and lighted figures may be framed in doorways, known as a '
411:', literally a 'see through'. The contrast between light and shadow tends to be accentuated, with sunlit portions of the canvas appearing cooler and paler compared to his later works. Notably, De Hooch's mastery is most evident when portraying figures in repose, exemplified in two masterpieces painted around 1654 -
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and a cold blue prevalent in the shadows, characterised as harsh. Remarkably, nearly 50% of de Hooch's works date to the last 15 years of his activity, likely to compensate for lower compensation in the wake of the
Rampjaar. Additionally, these works are described as appearing lifeless and cumbersome
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De Hooch's early artistic development is evidenced by the maturity exhibited in his paintings executed around 1655. By 1654, he had attained a zenith in depicting soldier scenes, a focus that persisted into the initial years of his marriage. After starting his family in the mid-1650s, he switched his
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The date of his death is unknown. For a significant period, it was believed that de Hooch died in 1684 as a resident in the
Amsterdam dolhuis, a lunatic asylum. Despite this, official records from that institution reveal that the Pieter de Hooch who died there was, in fact, the artist's son, who also
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Possibly, it may be that his work was affected by his distress at the death of his wife in 1667 at age 38, leaving him with a young family. During his
Amsterdam period, de Hooch encountered less success when revisiting motifs from his Delft era, such as depictions involving a young mother with her
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scenes and family portraits in opulent interiors with marble floors and high ceilings. During his time in
Amsterdam, he continued to make his domestic scenes, but both the interiors and their occupants appear more opulent. With the change in setting, his art evolved to feature cooler colours, more
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brought against de Witte. The burial records in
Amsterdam for two of de Hooch's children, dated June 1663 and March 1665, indicate that he resided on Regulierspad and Engelspad, respectively. These "paths" were situated outside the old city walls and were known for accommodating some of the city's
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Most scholars believe that de Hooch's work after around 1670 became more stylised and deteriorated in quality, describing de Hooch as having "quickly lost his inspiration and charm." However, these criticisms are often shaken off as they judge his work by the same aesthetic criteria as the Delft
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In the 1660s, he began to paint for wealthier patrons in
Amsterdam who gained their wealth through increased trade and stock exchanges in a time of unrivalled prosperity, coinciding with de Hooch's premier works, during his Delft-Amsterdam transition. During this period, he was known for upscale
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remains speculative, as de Jongh was a generation older than de Hooch. Nevertheless, it seems they had a mutual influence on each other. While de Jongh drew inspiration from de Hooch’s later depictions of courtyards and gardens, de Hooch may have been inspired by de Jongh in developing the
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had assumed that
Vermeer had been influenced by de Hooch's work, and indeed de Hooch first demonstrated a special interest in combining the figure with interior geometry. He succeeded in blending the South Holland techniques of perspective and interior space construction with powerful
597:, notable for their meticulously detailed paintings, which commanded very high prices. Though, the price of de Hooch's works did not garner the same prices as the Fijnschilders' until the early nineteenth century, when interest in his works increased, as English collectors, including
349:, where he stayed for the next two years at least. His third son was baptized in 1672. In 1674, de Hooch's financial situation was meagre enough to escape the tax registers entirely, likely a result of the declining art market in the Dutch Republic, following the onerous
732:, and the Gallery's Board of Trustees was censored. Writers in The Connoisseur and The Burlington Magazine wrote "an act of folly on the part of the Trustees" and "Not to mince matters, it is a poor picture, a work of the painter's late and bad period." respectively.
539:, and the rooftop of the newly built Amsterdam Town Hall. Also featured are areas of residence for de Hooch, including courtyards similar to those found behind old Delft homes around the Binnenwatersloot where his wife lived. These
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is also said to have been inspired by de Hooch, and paintings of
Vermeer have been found to have posthumously been inscribed with the signature of de Hooch, perhaps in attempt to inflate the value of the then unknown Vermeer's
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sponsored a new research project for the Delft
Prinsenhof museum and the Rijksmuseum to work on a new overview exhibition focussing on the works in their collection, to be presented in a combined exhibition 2019–2020.
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Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange in
Rotterdam. His service for the merchant required him to accompany him on his travels to
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to evoke the protagonist's feelings of love. During the 20th century, several works thought to be de Hooch originals were revealed as forgeries, after an unfinished "de Hooch" painting was discovered in
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argues that de Hooch's later works are largely responsible for the diminished appreciation of his art, advocating that his body of work should be judged without the bias of his weaker, later canvases.
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Pieter de Hooch's influence persisted under the misnomer of the "De Hooch School." Although there are no records of him having formal students, his work resonated with numerous artists, including
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shows that De Hooch had first tried to paint another figure in the empty chair, pointing to his canvas being the more original model that Vermeer quoted. Another signature work of Vermeer,
353:, which hugely strained the economy and all facets of Dutch cultural activity. In his later years, de Hooch painted more, and often larger paintings, measuring over 100 centimetres.
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environments. These works are among the first to emphasise cityscapes, cropping up mainly in de Hooch's time in Delft, where his works feature important buildings such as the
325:. His daughter Anna was born in Delft on 14 November 1656. Based on the fact that his wife attended a baptism in Amsterdam in 1660, it has been determined that he moved to
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Pieter de Hooch;: The master's paintings in 180 reproductions, with an appendix on the genre painters in the manner of Pieter de Hooch and Hendrik van der Burch's art
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to take a profound interest in his work. As a result, the value of de Hooch’s paintings soared, and some works by other Dutch Golden Age artists, such as Vermeer’s
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witnessed the signing of a will. He was active in 1683, but his date of death is unknown (his son Pieter died in 1684, a date often wrongly given for the father).
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748:, the latter of whom likely based his painting Woman with a Pearl Necklace on de Hooch’s style, with many of his other works reflecting de Hooch’s Delft period.
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bore the name Pieter. The registration of his son Pieter Pietersz. de Hooch at the Dolhuis in 1679 is noted as the last record of de Hooch in Amsterdam.
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and was known for his "kamergezichten" or "room-views" with ladies and gentlemen in conversation. But de Hooch's work seems to continue in the spirit of
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required to be a member of the guild. Little is known of his early life, and most archival evidence suggests he worked in Rotterdam, Delft, and
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acquired works by de Hooch. Before this period, his paintings commanded a smaller price than that of Vermeer's, and only a fraction of that of
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652:. This piece was created shortly after his move to Amsterdam and exemplifies his shift from simple Delft courtyards to the depiction of early
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were often arranged fictitiously, bringing many important buildings into one scene. De Hooch also shared themes and compositions with
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in 1655 (two years after Vermeer). Though, he must have faced financial difficulties, as he was unable to pay the admission fee of 12
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poorest inhabitants, sharply contrasting his affluent clients in Amsterdam. In 1668, he was living in the Konijnenstraat near the
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with whom his work shares themes and style. De Hooch was first recorded in Delft on 5 August 1652, when he and another painter,
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also drew inspiration from this period. Numerous 18th-century drawings after de Hooch’s works exist, created by artists like
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quoted remarks on late de Hooch, writing, " sacrifices his individuality to the taste of the time." Upon the aquisition of
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The early work of de Hooch was mostly composed of scenes of soldiers and peasants in stables and taverns in the manner of
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Little is known of de Hooch's living arrangements in Amsterdam, though it has been established that he had contact with
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Fifteenth- to eighteenth-century European paintings: France, Central Europe, the Netherlands, Spain, and Great Britain
2040:. Hartford, Conn.; New Haven: Dulwich Picture Gallery, Wadsworth Atheneum: In association with Yale University Press.
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compositions, the focal point is not dispersed among numerous figure groups, in contrast to the soldier paintings of
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In the late 1650s, Pieter de Hooch pioneered a new genre of painting that showcased unprecedented spatial order and
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811:. His legacy continued to thrive into the 19th century with the formalisation of art evaluation methods, as critic
305:, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters
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in Rotterdam in 1629. He was the eldest of five children and outlived all of his siblings, evidently raised in a
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and focus on figures, a style undoubtedly influenced by the prominent genre painters of his time. An x-ray of
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which claimed many contemporaries careers along with it. This included time-renowned masters such as
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substantial figures, and a technique marked by greater precision. Lacking entrée to the homes of the
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These paintings often exhibited a sophisticated and delicate treatment of light similar to those of
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2128:"[Pieter de Hooge], De groote schouburgh der Nederlantsche konstschilders en schilderessen"
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668:. The woman gazing out at the viewer serves as the central figure in this playful "Sport of Love."
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Municipal Department for Preservation and Restoration of Historic Buildings and Sites of Amsterdam
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in outline, with a perceived falseness in their structural composition. An anonymous writer in
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genre. Some have theorised a triangular artistic relationship between de Hooch, de Jongh, and
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De Hooch’s legacy enjoyed a resurgence in the 18th century, as admiration for his work grew.
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2253:, collection catalog from The Metropolitan Museum of Art (fully available online as a PDF)
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2245:, exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
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1349:(ca. 1625– na 1664) who lived in Leiden, also on the Delft-Amsterdam trekschuit route
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as a background for his social scenes, a marble-covered setting once considered the
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De Hooch was married in Delft in 1654 to Jannetje van der Burch, possibly sister of
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Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art
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pictures; not by the changing standards of post-1670 Dutch art and the disasterous
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home. Though, his father was described as a "master bricklayer", hence a skilled
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1332:"Transcendence in Ordinary Domestic Life", Wall Street Journal, 19 August 2017
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1779:"Amsterdam Heritage: Town hall in the Dam Square (1648/65), now Royal Palace"
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of quiet domestic scenes with an open doorway. He was a contemporary, in the
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were some of the last Dutch painting specialties to emerge. Along with
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by then meant that a trip to Amsterdam could be made easily in a day.
2079:"New Information on Pieter de Hooch and the Amsterdam Lunatic Asylum"
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Pieter de Hooch : A woman preparing bread and butter for a boy
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rather than to explore an interest in the subject matter. In these
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or as an empathetic introspection into the lives of the subjects.
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2150:"The Depiction of Servants in Some Paintings by Pieter de Hooch"
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is also said to have been influenced by his younger colleague.
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For a complete list of paintings attributed to de Hooch, see
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2111:. Los Angeles : J. Paul Getty Museum. pp. 13–67.
1549:"The School of Delft: Pieter de Hooch and Johannes Vermeer"
582:, de Hooch conceived the idea of utilising the newly-built
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of the "Garden of Love" and "Game of Love" found in both
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Young Woman with a Letter and a Messenger in an Interior
1841:"The Impact of the Rampjaar on Dutch Golden Age Culture"
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Interior with a Man Reading a Letter and a Woman Sewing
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1979:"Ludolf de Jongh and the Early Work of Pieter de Hooch"
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1698:"Public and private life in the art of Pieter de Hooch"
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also admired de Hooch’s interiors, referencing them in
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Interior of a Kitchen with a Woman, a Child and a Maid
1647:"Witte, Emanuel de. Museo Nacional Thyssen-Bornemisza"
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A Man with Dead Birds, and Other Figures, in a Stable
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1309:"Vermeer's Delft Today: the House of Pieter de Hooch"
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De Hooch also portrayed courting couples engaged in
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656:gardens. The skittle-playing theme connects to the
2224:. Vol. XII (9th ed.). 1881. p. 144.
2198:From Dou to De Hooch blog article, Waddesdon Manor
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427:- which mark the culmination of his early period.
2475:A Man Smoking and a Woman Drinking in a Courtyard
2348:Two Soldiers and a Serving Woman with a Trumpeter
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2061:. Ithaca, N.Y. : Cornell University Press.
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755:The artistic relationship between de Hooch and
2467:Group Portrait of an Unknown Family or Company
1462:"Pieter de Hooch | Dutch painter | Britannica"
1018:Group portrait of an unknown family or company
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2575:A Woman Preparing Bread and Butter for a Boy
2537:Two Women Beside a Linen Chest, with a Child
1894:sfn error: no target: CITEREFHoubraken1753 (
1293:sfn error: no target: CITEREFHoubraken1753 (
1102:Two Women Beside a Linen Chest, with a Child
203:20 December 1629 – after 1683), was a
2643:Going for a Walk in the Amsterdam Town Hall
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2628:The Council Chamber in Amsterdam Town Hall
2506:A Woman with a Basket of Beans in a Garden
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1436:"Pieter de Hooch - Artists - Rijksstudio"
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2521:Interior with a Woman Weighing Gold Coin
2371:Merry Company with Two Men and Two Women
911:A Woman and Child in a Bleaching Ground
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377:Man Offering a Glass of Wine to a Woman
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2583:Woman Lacing Her Bodice Beside a Cradle
2257:19 artworks by or after Pieter de Hooch
2208:Works and literature on Pieter de Hooch
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1142:Man Reading a Letter and a Woman Sewing
162: 1654; died 1667)
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1524:"Seven Dutch Masters: Pieter de Hooch"
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1165:Company in an interior eating oysters
728:in 1916, a debate was provoked in the
625:A Lady and a Child with a Serving Maid
317:. He became a member of the painters'
173:7, including Pieter Pietersz. de Hooch
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2613:Company in a Courtyard Behind a House
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1183:List of paintings by Pieter De Hooch
859:list of paintings by Pieter de Hooch
262:. According to his first biographer
16:Dutch Golden Age Painter (1629–1684)
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329:by then, though the success of the
238:to Hendrick Hendricksz de Hooch, a
188:[ˈpitərˈɦɛndrɪksoːndəˈɦoːx]
56:Possible self-portrait (1648–1649?)
13:
2658:Leisure Time in an Elegant Setting
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1418:Pieter de Hooch (1 January 1930).
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2394:The Courtyard of a House in Delft
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1062:The Courtyard of a House in Delft
489:The Courtyard of a House in Delft
2418:A Woman with a Child in a Pantry
2363:A Woman and Two Men in an Arbour
2242:The Milkmaid by Johannes Vermeer
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519:Pieter de Hooch's depictions of
313:, who were early members of the
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2598:Card Players in a Rich Interior
2237:(fully available online as PDF)
2155:Zeitschrift für Kunstgeschichte
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1424:. Internet Archive. A. Zwemmer.
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819:reviews. This led artists like
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2233:, exhibition catalog from The
1857:10.1080/03096564.1997.11784072
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692:A Musical Party in a Courtyard
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2410:A Woman Drinking with Two Men
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2071:– via Internet Archive.
2050:– via Internet Archive.
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95:after 1683 (aged at least 54)
2819:Nicolaes Pieterszoon Berchem
2386:Cardplayers in a Sunlit Room
2230:Vermeer and The Delft School
974:Cardplayers in a Sunlit Room
718:Musical Party in a Courtyard
270:under the landscape painter
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7:
2076:Grijzenhout, Frans (2008).
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180:Pieter Hendricksz. de Hooch
66:Pieter Hendricksz. de Hooch
10:
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2235:Metropolitan Museum of Art
2147:Franits, Wayne E. (1989).
2105:Franits, Wayne E. (2006).
2037:Pieter de Hooch, 1629-1684
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1696:Hollander, Martha (2000).
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588:eighth wonder of the world
439:Woman Weighing a Gold Coin
20:
2846:Dutch Golden Age painters
2825:Dutch Golden Age painting
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2304:
2055:Sutton, Peter C. (1980).
2034:Sutton, Peter C. (1998).
1977:Fleischer, R. E. (1978).
1499:"Woman Holding a Balance"
1391:Rijksmuseum press release
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242:, and Annetge Pieters, a
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2764:Teaching a Child to Walk
2451:Courtyard with an Arbour
2203:"Pieter de Hooch online"
1578:www.essentialvermeer.com
1553:www.essentialvermeer.com
1528:www.essentialvermeer.com
1341:According to biographer
1313:www.essentialvermeer.com
815:praised de Hooch in his
470:Woman Weighing Gold Coin
368:
205:Dutch Golden Age painter
2861:Painters from Rotterdam
2673:Musical Party in a Hall
2221:Encyclopædia Britannica
2215:"Pieter de Hooch"
2085:The Burlington Magazine
1911:, p. 72, note. 42.
425:London National Gallery
2560:A Woman Peeling Apples
1839:Munt, Annette (1997).
1574:"Vermeer's Signatures"
1347:Hendrick van der Burgh
813:Théophile Thoré-Bürger
746:Pieter Janssens Elinga
700:
637:
569:
497:
451:
384:
303:Hendrick van der Burgh
224:Hendrick van der Burgh
149:Jannetje van der Burch
690:
623:
557:
487:
437:
376:
234:De Hooch was born in
2856:Dutch genre painters
2545:A Boy Bringing Bread
2444:(Widener Collection)
1651:www.museothyssen.org
893:Bringer of Bad News
821:Jean-François Millet
274:at the same time as
266:, he studied art in
2876:Painters from Delft
2851:Dutch male painters
2126:Houbraken, Arnold.
1451:, pp. 559–566.
1267:, pp. 612–613.
840:'s studio in 1945.
825:The Art of Painting
797:Cornelis van Noorde
319:guild of Saint Luke
2193:at Waddesdon Manor
2191:A Game of Ninepins
2177:– via JSTOR.
2100:– via JSTOR.
1466:www.britannica.com
701:
644:playing, with the
638:
607:Duke of Wellington
570:
498:
452:
389:Adriaen van Ostade
385:
246:, baptised at the
2833:
2832:
2491:Lady and Her Cook
2459:A Dutch Courtyard
2312:List of paintings
2118:978-0-89236-844-0
2092:(1266): 612–613.
1817:, pp. 54–55.
1741:, p. 61, 66.
1729:, pp. 22–26.
1488:, pp. 13–14.
994:A Dutch Courtyard
781:Abraham Van Strij
750:Emmanuel de Witte
567: 1663–1665
525:bleaching grounds
362:Turing Foundation
216:Guild of St. Luke
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176:
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2402:The Golf Players
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1791:
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1785:. Archived from
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766:Jacob Ochtervelt
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276:Jacob Ochtervelt
272:Nicolaes Berchem
264:Arnold Houbraken
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112:Nicolaes Berchem
77:20 December 1629
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2298:Pieter de Hooch
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757:Ludolf de Jongh
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1989:(1): 49–67.
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1803:Franits 2006
1787:the original
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1218:. Retrieved
1214:
1188:Delft School
842:
816:
793:Frans Decker
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664:and popular
639:
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386:
360:In 2017 the
359:
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315:Delft School
300:
284:
233:
196:
192:
179:
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138:Delft School
34:
30:
18:
2871:1684 deaths
2866:1629 births
2802: 1670
2787: 1668
2772: 1668
2757: 1668
2742: 1668
2719: 1667
2704: 1664
2691:(1665–1668)
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2621: 1663
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2591: 1660
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2524:(1659–1662)
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2499: 1660
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2462:(1658–1660)
2454:(1658–1660)
2446:(1658–1660)
2442:The Bedroom
2437:(1658–1660)
2435:(Karlsruhe)
2433:The Bedroom
2426: 1658
2379: 1657
2356: 1650
2341: 1655
2326: 1652
2017:Sutton 1998
1983:Oud Holland
1953:Sutton 1998
1938:Sutton 1998
1926:Sutton 1998
1909:Sutton 1980
1851:(1): 3–51.
1827:Sutton 1980
1815:Sutton 1980
1766:Sutton 1998
1708:: 272–293.
1676:www.nga.gov
1610:Sutton 1998
1598:Sutton 1998
1503:www.nga.gov
1471:11 December
1379:Sutton 1998
1362:Sutton 1998
1277:Sutton 1998
1215:www.nga.gov
1170: 1681
1152: 1676
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1004: 1660
1000: 1658
980: 1658
960: 1658
940: 1657
920: 1659
916: 1657
898: 1655
880: 1652
833:Swann's Way
698: 1677
635: 1676
631: 1674
580:aristocracy
549:iconography
537:Nieuwe Kerk
495: 1658
449: 1662
445: 1659
405:chiaroscuro
393:perspective
382: 1653
220:Jan Vermeer
209:genre works
100:Nationality
2840:Categories
2134:(in Dutch)
2068:0801413397
2047:0300077572
1220:27 October
1194:References
1150: – c.
1026: – c.
1002: – c.
918: – c.
706:vermillion
633: – c.
615:van Mieris
605:, and the
521:courtyards
506:cityscapes
502:naturalism
481:paintings.
465:naturalism
447: – c.
340:through a
331:trekschuit
240:bricklayer
73:1629-12-20
23:Dutch name
2305:Paintings
2175:0044-2992
2098:0007-6287
1995:0030-672X
1865:0309-6564
1714:0169-6726
934:The Visit
785:Jan Ekels
678:Jan Steen
674:Raampjaar
599:George IV
584:City Hall
533:Oude Kerk
510:Fabritius
327:Amsterdam
288:The Hague
260:Amsterdam
236:Rotterdam
230:Biography
108:Education
81:Rotterdam
2821:(master)
1583:8 August
1558:8 August
1508:10 March
1177:See also
662:high art
541:edifices
419:and the
409:doorsien
351:Rampjaar
323:guilders
170:Children
126:Movement
121:Painting
31:de Hooch
21:In this
2812:Related
2027:Sources
1533:19 July
1318:26 June
853:Gallery
720:by the
658:imagery
642:skittle
592:Leidse
456:Vermeer
423:in the
342:lawsuit
268:Haarlem
256:artisan
244:midwife
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184:Dutch:
144:Spouse
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817:Salon
529:urban
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