Pieter de Hooch ( Dutch: [ˈpitər də ɦoːx], also spelled "Hoogh" or "Hooghe"; 20 December 1629 (baptized) - 24 March 1684 (buried) [1] was a Dutch Golden Age painter famous for his genre works of quiet domestic scenes with an open doorway. Pieter de Hooch (Dutch: [ˈpitər də ɦoːx], also spelled "Hoogh" or "Hooghe"; 20 December 1629 (baptized) - 24 March 1684 (buried)) was a Dutch Golden Age painter famous for his genre works of quiet domestic scenes with an open doorway. He was a contemporary of Jan Vermeer in the Delft Guild of St. Luke, with whom his work shares themes and style.
Pieter de Hooch Baroque Era painter Tutt'Art Pittura * Scultura * Poesia * Musica
Pieter de Hooch, (baptized Dec. 20, 1629, Rotterdam, Neth.—buried March 24, 1684, Amsterdam), Dutch genre painter of the Delft school, noted for his interior scenes and masterful use of light. Hooch, Pieter de: Card Players in an Opulent Interior Pieter de Hooch is best known for his skill at rendering domestic interiors, and for his invention of the doorkirkjie, or "see-through-doorway", technique, bringing the exterior world into the frame, thus emphasizing the home as a safe haven for families to live out their pious lives. Read full biography Read artistic legacy Pieter de Hooch is best known for his pictures of the domestic life of women and children, such as 'The Courtyard of a House in Delft' in the collection. His later paintings record fashionable life in the city of Amsterdam, and utilise a darker and richer range of colours. The son of a bricklayer, de Hooch was born in Rotterdam. Artist Bibliography Biography Pieter Hendricksz de Hooch (occasionally spelled de Hoogh) was baptized in the Reformed Church in Rotterdam on December 20, 1629. His father was a master bricklayer and his mother a midwife.
Pieter de Hooch Baroque Era painter Tutt'Art Pittura * Scultura * Poesia * Musica
Pieter de Hooch (1629-in or after 1684) was born in Rotterdam. He served his apprenticeship under Ludolph de Jongh in Rotterdam and later under Nicolaes Pietersz Berchem in Haarlem. In 1655, he registered with the artists guild in Delft as an independent painter. Like many artists of the time, De Hooch also had a second trade: he worked for a. It shows Pieter de Hooch's skills in depicting architecture but it is also a portrayal of tender human relationships and a vision of women's role in domesticity and the stability of the home. The picture is divided in two. On the left, painted with strong verticals and perspective, is the house and the passageway that leads through it.. Pieter de Hooch's intimate depictions of 17th-century Dutch domestic life are well known, widely admired and often mentioned, but the artist's painting technique is far less understood. The scientific and technical research, which included the principal non-invasive imaging techniques currently available, focused initially on the six. Like his contemporary Johannes Vermeer, Pieter de Hooch played a pioneering role in the advancement of genre painting in seventeenth century Holland. He was especially gifted as a painter of interiors--complex spatial arrangements stunningly beautiful in the manipulation of light. The Lehman picture is richly decorated with a marble floor and.
de Hooch Paintings Reveal Remarkable Discoveries Art & Object
Pieter Hendricksz de Hooch (occasionally spelled de Hoogh) was baptized in the Reformed Church in Rotterdam on December 20, 1629. His father was a master bricklayer and his mother a midwife. His only recorded teacher was the landscape painter Nicolaes Pietersz Berchem (Dutch, 1620 - 1683), with whom he studied in List of paintings by Pieter de Hooch The following is an incomplete list of paintings by Pieter de Hooch that are generally accepted as autograph by Peter C. Sutton and other sources. The list is more or less in order of creation, starting from around 1648 when Pieter de Hooch began painting on his own in Delft.
Pieter de Hooch was a significant member of the Dutch Golden Age, starring across the 17th century. He liked to capture scenes of every day life, albeit within carefully planned compositions. The movement itself is known as genre painting and was popular in Europe for a number of centuries. While not in good condition and a minor work by De Hooch, this panel is interesting for its place in the artist's development. It dates from about 1657-58 and, like The Visit (), represents a transitional phase between De Hooch's tavern scenes of the early 1650s and his domestic interiors and courtyard views of about 1658 onward.The earlier works recall Haarlem-style genre pictures in which.
Pieter de Hooch (Dutch, 16291684) Tutt'Art Masterpieces
Pieter de Hooch Dutch ca. 1657 On view at The Met Fifth Avenue in Gallery 614 De Hooch situated this scene in a voorhuis, the street-facing room in a narrow Dutch row house that receives the best light. The placement of the window and construction of the space reveal the close dialogue that de Hooch had with Johannes Vermeer at the time. Paying the Hostess. Pieter de Hooch Dutch. ca. 1670. On view at The Met Fifth Avenue in Gallery 614. In the yard of a country inn, a fashionably attired man and his hostess appear to be disputing his bill. In the background, other guests continue their revelry, while a man delivers sheaths of wheat and a woman and child look on.
