|
Pieter de Hooch (, 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. ==Biography== De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife. He was the eldest of five children and outlived all of his siblings. Little is known of his early life and most archival evidence suggests he worked in Rotterdam, Delft, and Amsterdam. According to his first biographer Arnold Houbraken, he studied art in Haarlem under the landscape painter Nicolaes Berchem at the same time as Jacob Ochtervelt and was known for his "kamergezichten" or "room-views" with ladies and gentlemen in conversation.〔 (Pieter de Hooge Biography ) in ''De groote schouburgh der Nederlantsche konstschilders en schilderessen'' (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature〕 Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange in Rotterdam. His service for the merchant required him to accompany him on his travels to The Hague, Leiden, and Delft, to which he eventually moved. It is likely that de Hooch handed over most of his works to la Grange during this period in exchange for board and other benefits, as this was a common commercial arrangement for painters at the time, and a later inventory recorded that la Grange possessed eleven of his paintings. De Hooch was married in Delft in 1654 to Jannetje van der Burch, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters Carel Fabritius and Nicolaes Maes, who were early members of the Delft School. He became a member of the painters' guild of Saint Luke in 1655 (two year after Vermeer). His daughter Anna was born in Delft on 14 November 1656.〔Pieter de Hooch in the RKD〕 Based on the fact that his wife attended a baptism in Amsterdam in 1660, it has been determined that he moved to Amsterdam by then, though the success of the trekschuit by then meant that a trip to Amsterdam could be made easily in a day.〔According to biographer Pieter C. Sutton, De Hooch's wife Jannetje van der Burch was family of Hendrick van der Burgh (ca. 1625- na 1664) who lived in Leiden, also on the Delft-Amsterdam trekschuit route〕 The early work of de Hooch was mostly composed of scenes of soldiers and peasants in stables and taverns in the manner of Adriaen van Ostade, though he used these to develop great skill in light, color, and perspective rather than to explore an interest in the subject matter. File:Pieter de Hooch 011.jpg|''The Merry Drinker'', c. 1650 File:Pieter de Hooch - The Empty Glass - WGA11680.jpg|''The Empty Glass'', c. 1652 After starting his family in the mid-1650s, he switched his focus to domestic scenes. These were possibly of his own family, though his works of well-to-do women breastfeeding and caring for children could also indicate that he had attended his mother on her rounds as a midwife. File:Pieter de Hooch 020.jpg|''Woman nursing'', 1658 File:Pieter de Hooch - A Woman with a Baby in Her Lap, and a Small Child - WGA11693.jpg|''Woman with a baby on her lap'', 1658 File:Pieter de Hooch - The Courtyard of a House in Delft.jpg|''The Courtyard of a House in Delft'', 1658 His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. These paintings often exhibited a sophisticated and delicate treatment of light similar to those of Vermeer, who lived in Delft at the same time as de Hooch. File:Pieter de Hooch - Cardplayers in a Sunlit Room.jpg|''Cardplayers in a Sunlit Room'', 1658 File:Hooch, Pieter de - A Woman Preparing Bread and Butter for a Boy - Google Art Project.jpg| ''A Woman Preparing Bread and Butter for a Boy'', 1661 File:Hooch, Woman Drinking with Soldiers.jpg|''Woman Drinking with Soldiers'', 1658 The themes and compositions are also very similar between De Hooch and Vermeer. 19th-century art historians had assumed that Vermeer had been influenced by de Hooch's work, but the opposite is also possible. File:Pieter de Hooch Die Goldwägerin.jpg|''Interior with a Woman weighing Gold Coin'', c.1659-1662 File:Jan Vermeer van Delft 015.jpg|''Woman Holding a Balance'', c.1665 by Vermeer〔(Understanding ''The Woman Holding the Balance'' by Vermeer )〕 De Hooch also shared themes and compositions with Emanuel de Witte, though De Witte soon devoted himself mainly to painting church interior scenes after moving to Amsterdam in 1651. De Witte seems more preoccupied with the rooms themselves, filling his paintings with objects, and De Hooch is more interested in people and their relationships to each other, leaving his rooms empty of any extra objects that don't support the scene. File:Hooch Woman plucking a duck.jpg|''Plucking a Duck'', c.1665-1668 File:Pieter de Hooch - Interior with two women talking, a man and a dog - Musée Granet.jpg|''Two women talking, with a man and a dog'', 1680-1684 File:Emanuel de Witte - Keuken interior SC220941.jpg|''Kitchen Interior'', c.1665 by Emanuel de Witte In the 1660s, he began to paint for wealthier patrons in Amsterdam, and is known for merry company scenes and family portraits in opulent interiors with marble floors and high ceilings. File:Pieter de Hooch 019.jpg|''Family portrait in an opulent interior'', 1663 File:Pieter de Hooch 015.jpg|''Merry company'', 1663-1666 File:Pieter de Hooch - The Council Chamber in Amsterdam Town Hall - WGA11710.jpg|''The Council Chamber in Amsterdam Town Hall'', 1663 During his time in Amsterdam, he continued to make his domestic scenes, but both the interiors and their occupants appear more opulent. File:Pieter de Hooch - A Woman Peeling Apples.jpg|''A Woman Peeling Apples'', 1663 File:Pieter de Hooch - At the Linen Closet.jpg|''Two Women Beside a Linen Chest, with a Child'', 1663 File:A Boy Bringing Bread Pieter de Hooch.jpg|''A Boy Bringing Bread'', 1663 Little is known of De Hooch's living arrangements in Amsterdam, though it has been established that he had contact with Emmanuel de Witte.〔 In 1670, he was living in the Konijnenstraat.〔 He lived in an area outside of the city walls but near the Westerkerk where his family attended church. Most scholars believe that de Hooch's work after around 1670 became more stylized and deteriorated in quality. It may be that his work was affected by his distress at the death of his wife in 1667 at age 38, leaving him with a young family. After 1680, de Hooch's painting style became coarser and darker in color. It was once widely assumed that he died in an asylum in 1684, but new documentation * from that institution proves that it was in fact his son who had died there, also named Pieter. The year of the artist's death remains a mystery. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pieter de Hooch」の詳細全文を読む スポンサード リンク
|