Pieter de Hooch

(redirected from de Hooch)

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.
..... Click the link for more information.

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].
Mentioned in ?
References in periodicals archive ?
The show, which features some of the finest genre scenes from the period, includes Vermeer's The Music Lesson alongside works by de Hooch and Steen (pictured).
Works by Rembrandt, Vermeer, Frans Hals, Jan Steen and Pieter de Hooch are among those on display.
Along with information about the works by Rembrandt, Vermeer, de Hooch, Maes, Halls, and virtually every other painter of the time, Quodback describes how the exhibit came together, along with their provenance.
The show also has work by such artists as Jan Steen, Frans Hals, Jan van der Heyden, Pieter de Hooch and Jacob van Ruisdael.
DJs include Laura Love (Gladrags and Ministry of Sound, Ibiza), De Hooch (Speed Queen), Lucy Locket and resident G-Bar jocks.
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.
Images by de Hooch invite a consideration of the gendering of spaces in the relation of interiors to exteriors.
Within this dichotomy, the dramatic operates as something of a middle voice, mediating the aristocratic intrusion on the bourgeois in Shakespeare's Merry Wives of Windsor, just as it does in the vignettes and implied plots of paintings by de Hooch, Hoogstraten, or even Vermeer.
The School of Delft, if it existed at all, was sustained mostly by visiting artists; but there are plenty of works by the longstanding residents, Vermeer and de Hooch.
He seems to have had a similar effect on Vermeer's contemporary, De Hooch.