PIETER DE See also:

• PIETER DE HOOCH (1629-?1678)

HOOCH (1629-?1678)  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1629, and died in See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam probably shortly after 1677 . He was a native of See also:

• ROTTERDAM

Rotterdam, and wandered See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early to See also:

• HAARLEM

Haarlem and the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague . In 1654 we find him again at Rotterdam, where in that See also:

• YEAR

year he married a girl of See also:

• DELFT

Delft, Jannetje See also:

• VAN

van der Burch . From 16J5 to 1657 he was a member of the painter's gild of Delft, but after that date we have no traces of his doings until about 1668, when his presence is recorded in Amsterdam . His dated pictures prove that he was still alive in 1677, but his See also:

• DEATH

death followed probably soon after this year . De See also:

• HOOCH, PIETER DE (1629-?1678)

Hooch is one of the kindliest and most charming painters of homely subjects that See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland has produced . He seems to have been born at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time and taught in the same school as van der See also:

• MEER, JAN VAN DER (1632-1675)
• MEER, OSWALD (1809–1883)

Meer and See also:

• MAES, NICOLAS (1632-1693)

Maes . All three are disciples of the school of See also:

• REMBRANDT (1606-1669)

Rembrandt . See also:

• HOUBRAKEN, JACOBUS (1698–178o)

Houbraken mentions See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas See also:

• BERCHEM (or BERGHHEM), NICOLAAS (162o–1683)

Berchem as De Hooch's teacher . De Hooch only once painted a See also:

• CANVAS

canvas of large See also:

• SIZE

size, and that unfortunately perished in a See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire at Rotterdam in 1864 . But his small pieces display perfect finish and dexterity of See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, combined with See also:

• GREAT

great See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of discrimination . Though he sometimes paints open-See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air scenes, these are not his favourite subjects .

He is most at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home in interiors illuminated by different See also:

• LIGHTS, CEREMONIAL USE OF

lights, with the radiance of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, in different intensities, seen through doors and windows . He thus brings together the most delicate varieties of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, and produces chords that vibrate with See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony . The themes which he illustrates are thoroughly suited to his purpose . Some-times he chooses the See also:

• DRAWING

drawing-See also:

• ROOM

room where dames and cavaliers See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance, or dine, or sing; sometimes—mostly indeed—he prefers cottages or courtyards, where the housewives tend their See also:

• CHILDREN, LAW RELATING TO

children or superintend the labours of the See also:

• COOK
• COOK, ALBERT STANBURROUGH (1853– )
• COOK, EDWARD DUTTON (1829–1883)
• COOK, ELIZA (1818–1889)
• COOK, JAMES (1728-1779)
• COOK, THOMAS (1808-1892)

cook . Satin and See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold are as See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to him as camlet and See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur; and there is no See also:

• ARTICLE (from Lat. articulus, a joint)

article of See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture in a Dutch See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of the See also:

• MIDDLE

middle class that he does not paint with See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure . What distinguishes him most besides subtle suggestiveness is the serenity of his pictures . One of his most charming was the canvas formerly in the See also:

• ASHBURTON
• ASHBURTON, ALEXANDER BARING
• ASHBURTON, JOHN DUNNING, 1ST

Ashburton collection, now burnt, where an old See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady with a dish of apples walks with a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child along a See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street bounded by a high See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall, above which gables and a See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church See also:

• STEEPLE (akin to " steep")

steeple are seen, while the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun radiates joyfully over the whole . See also:

• FINE

Fine in another way is the " Mug of See also:

• BEER

Beer " in the Amsterdam Museum, an interior with a woman coming out of a See also:

• PANTRY (O. Fr. paneterie; Med. Lat. panetaria, a bread-shop, from panis, bread)

pantry and giving a measure of beer to a little girl . The See also:

• LIGHT

light flows in here from a small closed window; but through the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door to the right we look into a drawing-room, and through the open See also:

• SASH

sash of that room we see the open air . The three lights are managed with supreme cunning . Beautiful for its See also:

• ILLUMINATION

illumination again is the " See also:

• MUSIC

Music Party," with its contending indoor and outdoor lights, a See also:

• GEM (Lat. gemma, a bud,—from the root gen, meaning " to produce,"—or precious stone; in the latter sense the Greek term is > d>os)
• GEM, ARTIFICIAL

gem in the See also:

• LATE

late A . Thieme collection at See also:

• LEIPZIG

Leipzig .

More subtly suggestive, in the museum of See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, is the " See also:

• MOTHER

Mother seated near a See also:

• CRADLE (of uncertain etymology, possibly connected with " crate " and " creel," i.e. basket; the derivation from a Celtic word, with a sense of rocking, is scouted by the New English Dictionary)

Cradle." " A Card Party," dated 1658, at See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, is a See also:

• GOOD, JOHN MASON (1764-1827)

good example of De Hooch's drawing-room scenes, counterpart as to date and value of a " Woman and Child " in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, and the " Smoking Party," formerly in See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• ENFIELD

Enfield's collection . Another very fine example is the " Interior " with two See also:

• WOMEN

women, bought by See also:

• SIR

Sir See also:

• JULIUS

Julius Wernher . Other pictures later in the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's career are—the " Lady and Child in a Courtyard," of 1665, in the National Gallery, and the " Lady receiving a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter," of 167o, in the Amsterdam Museum (Van der Hoop collection) . It is possible to bring together over 250 examples of De Hooch . There are three at St See also:

• PETERSBURG

Petersburg, three in Buckingham Palace, three in the National Gallery, two in the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection, six in the Amsterdam Museum, some in the Louvre and at See also:

• MUNICH (Ger. Munchen)

Munich and See also:

• DARMSTADT

Darmstadt ; many others are in private galleries in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . For England was the first See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country to recognize the merit of De Hooch who only began to be valued in Holland in the middle of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . A celebrated picture at Amsterdam, sold for 45o florins in 1765, fetched 4000 in 1817, and in 1876 the Berlin Museum gave £5400 for a De Hooch at the See also:

• SCHNEIDER, JOHANN GOTTLOB (1750-1822)
• SCHNEIDER, LOUIS (1805-1878)

Schneider See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale—"A Dutch Dwelling-room" (82o B) . See Hofstede de See also:

• GROOT, GERHARD (1340—1384)

Groot's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue raisonne, vol. i., See also:

• LONDON

London, 1907 .