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Hooch, Pieter De Also Known As Hoogh, Pieter De Hooghe, Pieter De Dutch, 1629 - 1684
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Hooch, Pieter de Also known as Hoogh, Pieter de Hooghe, Pieter de Dutch, 1629 - 1684 Pieter de Hooch, Self-Portrait of Pieter de Hooch (?), oil on panel, Rijksmuseum, Amsterdam, inv. SK-A-181 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. His only recorded teacher was the landscape painter Nicolaes Pietersz Berchem (Dutch, 1620 - 1683), with whom he studied in Haarlem along with fellow pupil Jacob Ochtervelt (1634–1682). The exact dates of this apprenticeship are not known. Berchem’s interest in landscape apparently had little effect on De Hooch, whose earliest paintings are almost all barrack-room scenes. De Hooch is first recorded in Delft on August 5, 1652, when he and another painter, Hendrick van der Burch (1627–after 1666), witnessed the signing of a will. The following year he is documented as a painter and dienaar (servant or assistant) to a wealthy merchant named Justus de la Grange, a resident of both Delft and Leiden whose collection contained eleven of the artist’s paintings when it was inventoried in 1655. De Hooch witnessed a baptism in Leiden in 1653, but in 1654, when he married Jannetje van der Burch of Delft, he was living in Rotterdam. He and his wife, who was probably the sister of the painter Hendrick van der Burch, had seven children. De Hooch entered the Delft guild in 1655 and is recorded as having paid dues in 1656 and 1657. -
Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2-24-2014 Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672 David Beeler University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the History Commons Scholar Commons Citation Beeler, David, "Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/4983 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672 by David Beeler A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Annette Cozzi, Ph.D. Cornelis “Kees” Boterbloem, Ph.D. Brendan Cook, Ph.D. Date of Approval: February 24, 2014 Keywords: colonialism, foreign, otherness, maidservant, Burgher, mercenary Copyright © 2014, David Beeler Table of Contents List of Figures .................................................................................................................................ii -
Dutch Art, 17Th Century
Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. -
Vermeer and the Masters of Genre Painting: Inspiration and Rivalry Wednesday, November 8, 2017 the Exhibition Is Organized by the 4:30 – 7:30 P.M
vermeer and the masters of genre painting national gallery of art october 22, 2017 – january 21, 2018 AMONG THE MOST ENDURING IM AGES of the Dutch Golden Age are genre paintings, or scenes of daily life, from the third quarter of the seventeenth century. Made during a time of unparalleled inno- vation and prosperity, these exquisite portrayals of refined Dutch society — elegant men and women writing letters, playing music, and tending to their daily rituals — present a genteel world that is extraordinarily appealing. Today, Johannes Vermeer is the most cel- ebrated of these painters thanks to the beauty and tranquility of his images. Yet other masters, among them Gerard ter Borch, Gerrit Dou, Frans van Mieris, and Gabriel Metsu, also created works that are remarkably similar in style, subject matter, and technique. The visual connections between these artists’ paintings suggest a robust atmosphere of innovation and exchange — but to what extent did they inspire each other’s work, and to what extent did they follow their own artistic evolution? This exhibition brings together almost seventy paintings made between about 1655 and 1680 to explore these questions and celebrate the inspiration, rivalry, and artistic evolution of Vermeer and other masters of genre painting. Cover Johannes Vermeer Lady Writing (detail), c. 1665 oil on canvas National Gallery of Art, Washington, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer (cat. 2.3) (opposite) detail fig. 7 Gabriel Metsu Man Writing a Letter Fig. 1 (left) Gerard ter Borch Woman Writing a Letter, c. 1655 – 1656 oil on panel Royal Picture Gallery Mauritshuis, The Hague (cat. -
Pieter De Hooch of De Hoogh. Door P. Iwveizkopv Van
PIETER DE HOOCH OF DE HOOGH. DOOR P. IWVEIZKOPV VAN RIJSEWIJK. R. A. BREDIUS heeft in zijne studie over dezen nieester der Hollandsche schilderschool, in den zevenden jaar- gang van dit tijdschrift, uit diens eigenhandige stukken van 1667 tot i6y aangetoond, dat hij omstreeks 1630 moet geboren zijn, en in 1653 tot 1655 te Delft heeft gewoond, gelijk trouwens reeds bekend was, dat hij, den 20en September van laatstgenoemd jaar lid werd van het Delftsche St. Lucasgild, en wel "vremt sijnde". Hii- was dus niet te Delft ?eboren, ' en tot heden kent men zijne geboorteplaats niet. Dr. A. VAN DER WILLIGEN Pz. opperde in Les artistes de Harlem de vraag, of de door hem in de registers van Haarlem gevonden PIETER DE HOOGE de beroemde schilder kon zijn, maar BREDIUS antwoordde terecht, dat iedere aanwijzing ontbrak, dat deze man schilder was, en bewees door zijne handteeke- ning van 1669 te plaatsen naast die van den schilder uit de jaren 1668 en 1670, dat hij de schilder niet kon zijn. Een tweede candidaat was de PIETER D'HOGE of HOOGHE te Amsterdam, die genoemd wordt in de Biographische ?IantPekerain?-en van Mr. A. D. DE VRIES, 173 en in de, bij KRAMM vermelde processtukken van ROMEIJN DE HOOGHE. BREDIUS deed echter opmerken, dat deze man, met ROMEIJN D'HOOGE, door een derden broeder JOHANNES, zijdelintwerker, den I9en Juli 1648 tot voogd werd benoemd, en het niet waarschijnlijk was, dat de toen eerst I8jarige schilder reeds met dien post zou worden bekleed. Hij had er kunnen bijvoegen, dat deze PIETER DE HOOGHE op 16 Sept. -
Gerard Ter Borch, Vienna 1944, P
GERARD TERBORCH (Zwolle 1617 – 1681 Deventer) The Card Players On canvas, laid down on panel – 18 ¾ x 14 ½ in. (46.7 x 36.8 cm) Provenance: G. Braamcamp (1699-1771), Amsterdam, acquired 1752 His sale, Amsterdam, July 31, 1771, lot 41, for 305 guilders, to Maclaine With Cornelis Ploos van Amstel (1726-1798), Amsterdam His sale, Amsterdam, Philippe van der Schley, March 3, 1800 and days following, lot 1, for 610 guilders, to Jan Yver, for Pieter van Winter Pieter van Winter Nicolaas Simonsz. (1745-1807), Amsterdam Thence by descent to his younger daughter Anna Louisa Agatha van Loon-van Winter (1793-1877), Amsterdam Acquired as part of the entire Van Loon collection by Alphonse, Gustave, Edmond, Lionel and Ferdinand de Rothschild acting in syndicate, 1877 and allocated by the syndicate to Baron Lionel de Rothschild, London Baron Alfred de Rothschild, London, by inheritance, 1882 Arthur Sanderson, Edinburgh, by 1900 With Thomas Lawrie and Co., London, by 1903 John W. Simpson, New York, bought March 1905 With P. & D. Colnaghi, London With M. Knoedler & Co., Inc., London, by whom sold November 1908 for £9,000 to Kappel Marcus Kappel, Berlin, by whom sold in 1914 to Caspari With Caspari Galerie, Munich, by whom sold in March 1928 to Knoedler With M. Knoedler &. Co., Inc., New York, by whom sold September 1928 to Balch Allan C. Balch, Los Angeles Gift of Mr. and Mrs. Allan C. Balch to the Los Angeles County Museum of Art, Los Angeles, 1944, (acc. no. M.44.2.7) De-accessioned 2009 Exhibited: Amsterdam, 1867, no. -
Hooch, Pieter De Also Known As Hoogh, Pieter De Hooghe, Pieter De Dutch, 1629 - 1684
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Hooch, Pieter de Also known as Hoogh, Pieter de Hooghe, Pieter de Dutch, 1629 - 1684 Pieter de Hooch, Self-Portrait of Pieter de Hooch (?), oil on panel, Rijksmuseum, Amsterdam, inv. SK-A-181 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. His only recorded teacher was the landscape painter Nicolaes Pietersz Berchem (Dutch, 1620 - 1683), with whom he studied in Haarlem along with fellow pupil Jacob Ochtervelt (1634–1682). The exact dates of this apprenticeship are not known. Berchem’s interest in landscape apparently had little effect on De Hooch, whose earliest paintings are almost all barrack-room scenes. De Hooch is first recorded in Delft on August 5, 1652, when he and another painter, Hendrick van der Burch (1627–after 1666), witnessed the signing of a will. The following year he is documented as a painter and dienaar (servant or assistant) to a wealthy merchant named Justus de la Grange, a resident of both Delft and Leiden whose collection contained eleven of the artist’s paintings when it was inventoried in 1655. De Hooch witnessed a baptism in Leiden in 1653, but in 1654, when he married Jannetje van der Burch of Delft, he was living in Rotterdam. He and his wife, who was probably the sister of the painter Hendrick van der Burch, had seven children. De Hooch entered the Delft guild in 1655 and is recorded as having paid dues in 1656 and 1657. -
Jan Steen: the Drawing Lesson
Jan Steen THE DRAWING LESSON Jan Steen THE DRAWING LESSON John Walsh GETTY MUSEUM STUDIES ON ART Los ANGELES For my teacher Julius S. Held in gratitude Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jan Steen (Dutch, 1626-1679). The Drawing Lesson, circa 1665 (detail). Oil on panel, Mollie Holtman, Editor 49.3 x 41 cm. (i93/s x i6î/4 in.). Los Angeles, Stacy Miyagawa, Production Coordinator J. Paul Getty Museum (83.PB.388). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: Jan Steen. Self-Portrait, circa 1665. © 1996 The J. Paul Getty Museum Oil on canvas, 73 x 62 cm (283/4 x 243/ in.). 17985 Pacific Coast Highway 8 Amsterdam, Rijksmuseum (sK-A-383). Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners unless other- P.O. BOX 2112 wise indicated. Santa Monica, California 90407-2112 Typography by G & S Typesetting, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by Typecraft, Inc., Pasadena, California Walsh, John, 1937- Bound by Roswell Bookbinding, Phoenix, Jan Steen : the Drawing lesson / John Walsh, Arizona p. cm.—(Getty Museum studies on art) Includes bibliographic references. ISBN 0-89326-392-4 1. Steen, Jan, 1626-1679 Drawing lesson. 2. Steen, Jan, 1626-1679—Criticism and interpretation. I. Title. II. Series. ND653.S8A64 1996 759.9492—dc20 96-3913 CIP CONTENTS Introduction i A Familiar Face 5 Picturing the Workshop 27 The Training of a Painter 43 Another Look Around 61 Notes on the Literature 78 Acknowledgments 88 Final page folds out, providing a reference color plate of The Drawing Lesson INTRODUCTION In a spacious vaulted room a painter leans over to correct a drawing by one of his two pupils, a young boy and a beautifully dressed girl, who look on [FIGURE i and FOLDOUT]. -
EDWARD DOLNICK for Lynn It Is in the Ability to Deceive Oneself That the Greatest Talent Is Shown
THE FORGER’S SPELL A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieths Century EDWARD DOLNICK For Lynn It is in the ability to deceive oneself that the greatest talent is shown. —Anatole France We have here a—I am inclined to say the—masterpiece of Johannes Vermeer. —Abraham Bredius CONTENTS Epigraph iii Preface ix Part One OCCUPIED HOLLAND 1 A Knock on the Door 3 2 Looted Art 6 3 The Outbreak of War 9 4 Quasimodo 14 5 The End of Forgery? 18 6 Forgery 101 22 7 Occupied Holland 26 8 The War Against the Jews 30 9 The Forger’s Challenge 33 10 Bargaining with Vultures 40 11 Van Meegeren’s Tears 44 Part Two HERMANN GOERING AND JOHANNES VERMEER 12 Hermann Goering 51 13 Adolf Hitler 55 vi con t e n t s 14 Chasing Vermeer 57 15 Goering’s Art Collection 62 16 Insights from a Forger 66 17 The Amiable Psychopath 77 18 Goering’s Prize 82 19 Vermeer 85 20 Johannes Vermeer, Superstar 88 21 A Ghost’s Fingerprints 93 Part Three THE SELLING OF CHRIST AT EMM AUS 22 Two Forged Vermeers 105 23 The Expert’s Eye 109 24 A Forger’s Lessons 115 25 Bredius 121 26 “Without Any Doubt!” 127 27 The Uncanny Valley 132 28 Betting the Farm 137 29 Lady and Gentleman at the Harpsichord 139 30 Dirk Hannema 145 31 The Choice 150 32 The Caravaggio Connection 163 33 In the Forger’s Studio 167 34 Christ at Emmaus 170 35 Underground Tremors 173 con t e n t s vii Photographic Insert 36 The Summer of 1937 179 37 The Lamb at the Bank 186 38 “Every Inch a Vermeer” 192 39 Two Weeks and Counting 198 40 Too Late! 201 41 The Last Hurdle 203 42 The Unveiling 207 -
The Music Lesson: an Analysis of Two Works from Dutch Seventeenth Century
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 The Music Lesson: An Analysis of Two Works from Dutch Seventeenth Century Valory Hight Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Art Practice Commons, Music Education Commons, Music Pedagogy Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Hight, Valory, "The Music Lesson: An Analysis of Two Works from Dutch Seventeenth Century" (2018). Senior Projects Spring 2018. 284. https://digitalcommons.bard.edu/senproj_s2018/284 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. The Music Lesson: An Analysis of Two Works from Dutch Seventeenth Century Senior Project Submitted to The Division of Arts of Bard College by Valory Hight Annandale-on-Hudson, New York May 2018 Acknowledgements My advisors, -
Print, Amsterdam, 1980), 35
Pieter de Hooch (Rotterdam 1629 – in or after 1684 Amsterdam) How to cite Bakker, Piet. “Pieter de Hooch” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/pieter-de- hooch/ (accessed September 28, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Pieter de Hooch Page 2 of 9 According to the single sentence Houbraken devoted to Pieter de Hooch, the artist “was outstanding in the painting of interiors with companies of gentlemen and ladies.”[1] De Hooch was born in Rotterdam in 1629. His parents were the master bricklayer Hendrick de Hooch (d. 1657) and the midwife Annetge Pieters (d. 1648). Pieter was twenty years old when his father took a second wife, Adriaentje Philipsdr de Wijmer. He grew up on the Vissersdijk, near the Blaak, before the family moved in 1651 into a house on the Lombartstraat that his father had purchased for 1700 guilders. Hendrick had four sons from his first marriage, but as emerges from his will, Pieter was the only one still alive in 1657. In 1661 Hendrick married Christina Langenberg of Middelburg, where the couple settled. Although Houbraken claims that De Hooch, together with his fellow townsman Jacob Ochtervelt (1634–82), “studied for a period with the renowned N. -
72. Dutch Baroque
DOMESTIC LIFE and SURROUNDINGS: DUTCH BAROQUE: (Art of Jan Vermeer and the Dutch Masters) BAROQUE ART: JAN VERMEER and other Dutch Masters Online Links: Johannes Vermeer - Wikipedia Vermeer and the Milkmaid - Metropolitan Museum of Art Vermeer's Glass of Wine – Smarthistory Vermeer's Young Woman with a Water PItcher – Smarthistory Vermeer Master of Light- Documentary narrated by Meryl Streep Jan Steen – Wikipedia The Drawing Lesson, Jan Steen Judith Leyster - Wikipedia Jan Vermeer. Girl Reading a Letter at an Open Window, c. 1657, oil on canvas An innkeeper and art dealer who painted only for local patrons, Jan (Johannes) Vermeer (1632-1675) entered the Delft artists’ guild in 1653. “Of the fewer than forty canvases securely attributed to Vermeer, most are of a similar type- quiet, low-key in color, and asymmetrical but strongly geometric in organization. Vermeer achieved his effects through a consistent architectonic construction of space in which every object adds to the clarity and balance of the composition. An even light from a window often gives solidity to the figures and objects in a room. All emotion is subdued, as Vermeer evokes the stillness of meditation. Even the brushwork is so controlled that it becomes invisible, except when he paints reflected light as tiny droplets of color. Jan Vermeer. The Milkmaid. c. 1657-1658, oil on canvas Despite its traditional title, the picture clearly shows a kitchen or housemaid, a low- ranking indoor servant, rather than a milkmaid who actually milks the cow, in a plain room carefully pouring milk into a squat earthenware container (now commonly known as a "Dutch oven") on a table.