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The Bedroom - 1658/1660
Pieter de Hooch
Dutch, 1629 - 1684
Pieter de Hooch excelled in the sensitive depiction of people going about their daily lives, be it inside their houses or in the sheltered environment of an urban courtyard. His masterly control of light, color, and complex perspectival construction can be compared to the work of Johannes Vermeer, his contemporary and colleague in Delft.
Through his careful arrangement of the interior space in The Bedroom and his treatment of light, De Hooch infused this everyday scene with an extraordinary intimacy and warmth. Two light sources—the double windows on the left plus the open Dutch door and transom at the front of the house—illuminate the child who opens the door to the inner room. The doorway is flanked by rows of glazed Dutch tiles depicting popular children’s games. Based on the dress, the youngster could be either a girl or a boy. All small children wore skirts, regardless of gender, and the age at which a boy would change to wearing breeches was rather fluid. It is possible that De Hooch depicted his own family: his wife, Jannetje, and either his son, Peter, born in 1655, or his daughter, Anna, born in 1656.
The painting’s traditional title of The Bedroom is somewhat misleading, for the box bed against the wall was part of a large multifunctional room. The mother, busy tending to the chamber pot and airing out the linens, prepares the room for its daytime uses. The harmonious character of De Hooch’s painting and its emphasis on the mother’s dual responsibility as nurturer of her child and caretaker of the home, embody the ideal of Dutch domestic felicity.
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 land-scape painter Berchem, Nicolaes Pietersz, 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 bar-rack-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. He remained in that city until the end of the decade, but sometime between mid-1660 and April 1661 he set-tled in Amsterdam. Apart from a visit to Delft in 1663, he apparently remained in Amsterdam for the rest of his life. It was long believed that De Hooch died at the age of fifty-four while an inmate at the Amsterdam dolhuis (lunatic asylum). However, that institution's records shows that the Pieter de Hooch who died in the asylum was the artist's son, also named Pieter.
Between about 1655 and 1662, De Hooch’s work rose to the very highest level of achievement. Almost all of his paintings from these years depict interiors or courtyards containing just a few people, engaged either in domestic activities or in some restrained form of entertainment or merrymaking. The atmosphere in these works is characteristically calm, spacious, and airy, effects created through De Hooch’s masterly control of light, color, and com-plex perspectival construction. These are also all essential elements of the style of Vermeer, Johannes, with whom he must have had contact.
By the end of the 1660s De Hooch’s work had lost much of its delicacy and finesse. His later compositions be-came grander and more contrived, and his color harmonies and light effects harsher. His last dated painting is from 1684. Although De Hooch had no known pupils, artists whose works have been confused with his include Hendrick van der Burch, Ludolf de Jongh (1616–1679), Pieter Janssens Elinga (1623–before 1682), and Esaias Boursse (1631–1672).
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
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the rabbit pickup i has been working all the past month on. the reason i take less picture, i use less my cameras.
the car's a love/hate. more love, i takes me where i want to go.
its a 81 rabbit pickup late westy. with a gas engine. i had to make new floor, learn to weld, redo part of the electric system, mostly all the light lines. swap gearbox for a working one.
Our family had to have some sort of vacation holiday and chose an area of the country that was less densely populated and with lower COVID-19 rates. It also happened to include North Dakota, a state none of us had been to and marks state #49 for Tamara. We had a wonderful trip, got labeled as "Covid-sensitive" at a restaurant (which we now bear as a badge of honor), and got to see and explore a lot of places that in a 'normal' year we probably would have missed out on.
A light Duty Biped used mainly for recon. Its light frame allows it to move quickly and deploy in large quantities. The Griffon 330 is equipped with a highly sensitive missile tracking system built on to the leg frame as well as a standard issue DTi cannon.
I took the old work camera yesterday. (afraid I might drop it while climbing) With all the cool flowers I really widh I'd taken my good one.
CARLA is a gentle, sensitive, Sheltie/Elkhound mix who’s about 5 years old. Though she’s quite worried in new situations, she seems to like people and enjoys attention. She does well with other dogs.
Carla is looking for a kind, calm home where she’ll have lots of TLC.
Carla lives in Kennel 39.
For more information about Carla contact doginfo@apsofdurham.org.
Sensitive Fern Borer Moth. Photographed at Portage Lake, Parry Sound District, Ontario on 3 September 2018.
At Kapa'a, we parked the car and walked along the beach via the cycle path. These flowers were dotted alongside the track.