Pieter de Hooch

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Hooch or Hoogh, Pieter de

(both: pē`tər də hōkh), b. c.1629, d. after 1677, Dutch genre painter. He worked in Delft, Leiden, and Amsterdam, painting intimate interiors that may have been influenced by those of Vermeer. Usually he preferred to paint rooms opening into other rooms or to the outdoors, intriguing the imagination with half-seen vistas, and displaying his ability to handle complicated lighting effects. His warm tone and subtle colors show Rembrandt's influence. De Hooch repeated his basic compositions many times, so that his later works are static and less interesting. One of his finest paintings is Courtyard of a Dutch House (National Gall., London). His works are housed in many European museums, and the Metropolitan Museum has seven.

De Hooch or De Hoogh, Pieter:

see Hooch, Pieter deHooch or Hoogh, Pieter de
, b. c.1629, d. after 1677, Dutch genre painter. He worked in Delft, Leiden, and Amsterdam, painting intimate interiors that may have been influenced by those of Vermeer.
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Hooch, Pieter de


Baptized Dec. 20, 1629, in Rotterdam; died circa 1685 in Amsterdam. Dutch painter.

Hooch studied with C. Berchem in Haarlem from roughly 1646 to 1649. From 1654 he worked in Delft, where he became a member of the painters’ guild in 1655. He worked in Amsterdam in the 1660’s. Hooch was influenced by the Haarlem genre painters of F. Hals’ circle and, later, by J. Vermeer and C. Fabritius. He painted scenes from burgher life, primarily the hustle and bustle of the housewife. Hooch strove for poetic spirituality in his depictions of domestic surroundings and sunlit interiors and courtyards. Examples of his work are A Maid With a Child in a Court (1658, National Gallery, London), The Spinner (c. 1658, Buckingham Palace, London), A Woman and Her Maid (c. 1660, Hermitage, Leningrad), and A Mother Beside a Cradle (c. 1660, Picture Gallery, Berlin-Dahlem). Warm golden tones enriched with spots of pure color dominated Hooch’s mature palette. Increased superficiality of images characterized the artist’s late period.


Tsyrlin, I. Piter de Khookh. Moscow, 1955.
Thienen, F. van. Pieter de Hoogh. Amsterdam [1945].
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5s [pounds sterling]; and A Musical Party attributed to Pieter de Hooch and bought by Lane in April 1914 for 315 [pounds sterling] now made 567 [pounds sterling].
Works by Rembrandt, Vermeer, Frans Hals, Jan Steen and Pieter de Hooch are among those on display.
The show also has work by such artists as Jan Steen, Frans Hals, Jan van der Heyden, Pieter de Hooch and Jacob van Ruisdael.
Also thrown into the mix are the great names of painting (Michelangelo, Pieter de Hooch, Ingres), photography (Steichen's portrait of Gloria Swanson), Art Nouveau, the Vienna Secession, and multiple vernacular forms (Wild West-style posters, children's books, and food packaging).
Latin and Greek words are introduced, and the 17th-century genre paintings of Pieter de Hooch used as inspiration.
Lavender-scented linens, Delft tiles, tended gardens, well-swept doorsteps featured in the work of Pieter de Hooch and others.
In Dutch painting only Caspar Netscher captured better, and was more captivated by, small children than Pieter de Hooch, who left seven children, although his philoprogenitiveness can scarcely have eased the lifelong poverty in which he died in an Amsterdam asylum.
The scene depicted must have been a common one in 1660, when Pieter de Hooch painted it.
Each is organised either thematically (genre, landscape, and so on), or around particular artists (Vermeer and Pieter de Hooch, Jan Steen).
He uses competing accounts of modernism from Greenberg, Fried, Bois and de Duve to make his point and discusses such artists as Pieter de Hooch, Jackson Pollack, Robert Ryman and Cindy Sherman.
One of the best-known artists for genre painting was Dutch artist Pieter de Hooch (1629-84).
This spring, as Vermeer fever sweeps the Netherlands, which is filled with exhibits, concerts and debates related to the master, the Dutch also are re-examining the life and work of van Meegeren, one of this century's greatest art forgers, who died in 1947 after creating as many as two dozen ``Old Masters,'' including several passed off as works of Frans Hals and Pieter de Hooch.