Pieter de Hooch (1629 - 1684) was a Dutch Genre painter who is noted for his interior scenes, strong use of perspective, and accurate lighting. His works are similar to those of his Dutch contemporary, Johannes Vermeer, in both content and style. Although he initially painted soldiers and their surroundings, he turned his attention to painting genre scenes depicting Dutch domestic life. Many of these scenes include home interiors, courtyards, and gardens with women as the main characters. Our set of patterns includes his most well known scenes including At the Linen Closet, Woman with a Child in a Pantry, and Soldiers playing Cards.

Patterns Included In This Set:


Musical Party in a Courtyard

Woman Drinking with Soldiers

The Council Chamber


A Musical Conversation

A Woman with a Baby in her Lap

Woman with a Basket of Beans


Soldiers Playing Cards

Village House

Courtyard of a House in Delft


The Gold Weigher

Wife and Maid in a Courtyard

Breastfeeding Mother


Three Women and a Man in the Courtyard

Two Women with One Child in the Yard

A Woman Drinking with Two Men


Moher Lacing Her Bodice Beside a Cradle

A Mistress and Her Servant

Woman with a Child in a Pantry


Paying the Hostess

Figures Drinking in a Courtyard

The Visit


Woman Reading a Letter

At the Linen Closet

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Pieter de Hooch (1629 – 1684) was a 17th century Dutch genre painter of the Delft school who portrayed serene domestic interior scenes. His masterful depiction of light and use of perspective is believed to have influenced Vermeer.

De Hooch was born in Rotterdam. His father was a bricklayer and his mother was a midwife. He had five brothers and sisters. Not much is known about his early life and large parts of his career are unrecorded.

It is not known how, or why De Hooch decided to study painting but in the late 1640s he studied art in Haarlem under a local master and was influenced by the genre painters who frequented Frans Hals.

Around 1650 De Hooch went to work for Justus de la Grange, a wealthy Rotterdam cloth merchant who was also an art collector. He was recorded as being a painter and servant in the merchant’s household, but it is believed that this meant he was given room and board in return for his paintings. An inventory of de la Grange’s collection showed that he owned eleven paintings by De Hooch. De la Grange had homes and business dealings in The Hague, Leiden and Delft, and De Hooch accompanied him on his travels.

In Delft, De Hooch came into contact with painters of the Delft School and by 1654 he settled down there. This was his most creative period; he began painting quiet interiors and idyllic depictions of interior domestic life. He was a master of perspective and the portrayal of natural light illuminating interior rooms and courtyards. As was the custom at the time, his paintings sometimes bore hidden messages, readily understood by his contemporaries.

In May 1654 he married Jannetge van der Burch. The couple had seven children. A year later, in 1655, De Hooch joined the painters Guild. He did not have enough money to pay the twelve guilder membership fee and was able to pay only three guilders.

After that, there are no records of De Hooch’s life or career until 1661, when he moved to Amsterdam, where he remained for the rest of his life. It is thought he moved there in order to find wealthy patrons. Indeed, his paintings from that period are portrayals of upper class ladies and gentlemen in their palaces and villas. These paintings are considered to be less successful than his early works. Gone were the charming, delicate interiors of the Delft years. The technique is not as delicate and the color palette is dark and unrefined.

But although he portrayed the wealthy classes, De Hooch lived in one of the poorest neighborhoods of Amsterdam. It is believed that the deterioration in his painting was due to ill health, although little is known about his life at this time.

Eventually De Hooch’s health worsened until he died in an Amsterdam asylum for the insane in 1684. He was fifty five years old. It is not known why he was interned there. After his death, his paintings were overshadowed by Vermeer, who is considered to be a greater master of the interiors genre.

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