Pieter de Hooch was a Dutch genre painter. His career was positively influenced by the Golden Age, which was favourable for artists. De Hooch's works are often compared with those of Vermeer. Not only did the two artists live in the same city for several years, but their preferred motifs and preference for light influences were similar. Even when de Hooch painted outdoor scenes, light played a special role. However, unlike his compatriot Emanuel de Witte, with whom he was friends, de Hooch was more interested in people than in the surrounding space. For this reason, the rooms were often only furnished with a few selected objects. He was more interested in the perspective, the relationship between the figures and their activities. He liked to paint everyday scenes, as in "Card Player" or "The Merry Drinker".
Little is known about de Hooch's career. He was born as the son of a bricklayer and a midwife in Rotterdam. According to his biographer, he studied in Haarlem at the same time as Jacob Ochtervelt with the landscape painter Nicolaes Berchem. What speaks against this theory, however, is that de Hooch shows no stylistic or technical overlap with Berchem. It seems more likely that he was influenced by the Rotterdam painters Hendrik Sorgh or Ludolf de Jongh. From 1650 de Hooch entered the service of the Rotterdam linen dealer and art collector Justus de la Grange. Probably he was also the biggest buyer of de Hooch's paintings. Altogether 11 of his paintings were listed in the inventory of the art collector. De Hooch often had to accompany his employer on business trips to Amsterdam, Leiden and Delft. He settled himself in Delft around 1652. Between 1654 and 1657 he was a member of the Delft Luke Guild, as was Vermeer. After that his whereabouts are not documented for almost 10 years. Only in 1667 are there again traces that suggest that he was active in Amsterdam in the meantime.
Around 1654 De Hooch married Jannetje van der Bruch, the sister of his pupil Hendrick van der Bruch. The couple had seven children. During this time de Hooch began to take an interest in other motifs. He painted more domestic and family scenes showing wealthy women with children, such as "The Mother" or "Woman with Child and Maid". These pictures could be inspired by his new family life. His mother's profession might have influenced him as well. As was customary at the time, he often accompanied her on home visits. Art critics see a deterioration in the quality of de Hooch's works from the 1680s onwards. His paintings were much coarser and his color palette darker. Probably the early death of his wife, who was only 38 years old, was to blame for this change. De Hooch was suddenly on his own and the challenge of caring for the large family alone was too much for him. Little is known about his late years. It is mistakenly claimed that he died in a municipal sanatorium. However, documents prove that it was in fact his son who was named after him. De Hooch's exact date of death remains unknown.
Pieter de Hooch was a Dutch genre painter. His career was positively influenced by the Golden Age, which was favourable for artists. De Hooch's works are often compared with those of Vermeer. Not only did the two artists live in the same city for several years, but their preferred motifs and preference for light influences were similar. Even when de Hooch painted outdoor scenes, light played a special role. However, unlike his compatriot Emanuel de Witte, with whom he was friends, de Hooch was more interested in people than in the surrounding space. For this reason, the rooms were often only furnished with a few selected objects. He was more interested in the perspective, the relationship between the figures and their activities. He liked to paint everyday scenes, as in "Card Player" or "The Merry Drinker".
Little is known about de Hooch's career. He was born as the son of a bricklayer and a midwife in Rotterdam. According to his biographer, he studied in Haarlem at the same time as Jacob Ochtervelt with the landscape painter Nicolaes Berchem. What speaks against this theory, however, is that de Hooch shows no stylistic or technical overlap with Berchem. It seems more likely that he was influenced by the Rotterdam painters Hendrik Sorgh or Ludolf de Jongh. From 1650 de Hooch entered the service of the Rotterdam linen dealer and art collector Justus de la Grange. Probably he was also the biggest buyer of de Hooch's paintings. Altogether 11 of his paintings were listed in the inventory of the art collector. De Hooch often had to accompany his employer on business trips to Amsterdam, Leiden and Delft. He settled himself in Delft around 1652. Between 1654 and 1657 he was a member of the Delft Luke Guild, as was Vermeer. After that his whereabouts are not documented for almost 10 years. Only in 1667 are there again traces that suggest that he was active in Amsterdam in the meantime.
Around 1654 De Hooch married Jannetje van der Bruch, the sister of his pupil Hendrick van der Bruch. The couple had seven children. During this time de Hooch began to take an interest in other motifs. He painted more domestic and family scenes showing wealthy women with children, such as "The Mother" or "Woman with Child and Maid". These pictures could be inspired by his new family life. His mother's profession might have influenced him as well. As was customary at the time, he often accompanied her on home visits. Art critics see a deterioration in the quality of de Hooch's works from the 1680s onwards. His paintings were much coarser and his color palette darker. Probably the early death of his wife, who was only 38 years old, was to blame for this change. De Hooch was suddenly on his own and the challenge of caring for the large family alone was too much for him. Little is known about his late years. It is mistakenly claimed that he died in a municipal sanatorium. However, documents prove that it was in fact his son who was named after him. De Hooch's exact date of death remains unknown.
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