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is evidenced by two later variants featuring the same building but without the emperor's portrait. Following his move to
Amsterdam, de Hooch focused on painting lavish interiors for the ruling classes, further distancing himself from the more direct and potentially critical approach seen in the Basel painting. While these later works may lack the unfeigned directness of the original, they reflect de Hooch's adaptation to the tastes and expectations of his patrons.
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321:. By using the emperor's image, De Hooch could be making a pun on the Dutch word 'hof', meaning 'court', thus highlighting the incongruity between the almost palatial architecture of these charitable institutions and their purported purpose. This subtle commentary is further emphasised by the contrast between the grand building and the humble servant picking beans in the garden.
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elite for his livelihood may have influenced his decision to remove the emperor's portrait. This alteration transformed the painting into a more conventional piece, celebrating Leiden's grand new architecture without the potentially controversial social commentary. The painting's success in this form
435:
Illustrated catalogue of the twelfth series of 100 paintings by old masters of the Dutch, Flemish, Italian, French, and
English schools, being a portion of the Sedelmeyer Gallery : containing also a general index of the 1500 pictures described in the 13 catalogues of the Sedelmeyer Gallery
195:
in 1980, who felt the original dating of 1651 was too early and that the "5" was written suspiciously heavily leading him to date it tentatively as 1661. He also compared the painting to other paintings of gardens that De Hooch made in the early 1660s, placing this piece in de Hooch's
Amsterdam
310:. This erasure could have been done by a subsequent owner of the painting or by de Hooch himself, who may have reconsidered this uncharacteristic inclusion. The portrait's presence is considered incongruous with de Hooch's typical work, making it a singular occurrence in his oeuvre.
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run towards a small hole to the right of the center of the picture. The painting is precise in its rendering of the plants and architecture, which are depicted in detail. It is dominated by shades of red and green, which are present in various gradations.
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It was initially part of a private collection in
England before being sold to a dealer 'Sully' prior to 1912. The work then passed through several notable dealers and collectors, including
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interspersed with weeds. In her hands she holds a basket of beans, probably picked from the bush behind her. Her simple clothing indicates her position as a
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of another house can be seen behind the fence in the background. A large part of the picture is taken up by the sky, in which only one cloud can be seen.
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architecture and its inclusion of a portrait on a window shutter, which has sparked debate about its meaning and De Hooch's possible social commentary.
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earrings she is wearing could also suggest her position as mistress of the house. There is also a nobly dressed gentleman in the background.
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made of natural stone, small windows with red shutters and a door with a canopy in the background. On the shutter in the foreground is a
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176:. The wall of the house is bordered with flowers and ornamental plants. The path separates the garden from the house. The stepped
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317:) built for poor relief, but used by the rich to enhance their own self-aggrandisement by demonstrating their allegiance to the
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designed by architect Arent van 's-Gravesande in the 1650s. This suggests that De Hooch, previously associated mainly with
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The architectural elements in the painting are believed to be inspired by the Eva van
Hoogeveenshofje, an almshouse in
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in London (1929). In the 1930s, it changed hands multiple times, being owned by P.C. in
Holland (1934), D. Katz in
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in 1958. The painting was also exhibited extensively between 1913 and 1936, appearing in shows in Paris,
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de Hooch's initial inclusion of the emperor's portrait may have been a clever critique of the 'hofjes' (
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den Hartog, E. (2022). Pieter de Hooch’s window shutter with the
Habsburg Emperor Charles V (1661).
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Charles V on the window shutter in de Hooch's painting is a unique element that was later
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482:; Pieter de Hooch:Complete Edition, by Peter C. Sutton, Phaidon Press, Oxford, 1980,
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69.5 cm × 59 cm (27.4 in × 23 in)
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living in Leiden, as well as documented visits, support this theory.
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Other paintings of de Hooch may also feature almshouses, including:
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439:. Getty Research Institute. Paris : The Gallery. p. 24.
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climbing up the brick wall. The facade is interrupted by thin
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Young Woman with a Letter and a
Messenger in an Interior
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Interior with a Man
Reading a Letter and a Woman Sewing
466:(4), 225-236. https://doi.org/10.1163/18750176-13504005
963:
Interior of a
Kitchen with a Woman, a Child and a Maid
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A Man with Dead Birds, and Other Figures, in a Stable
122:. The painting is notable for its depiction of Dutch
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369:(by 1936). The last recorded owner in this list is
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460:Oud Holland – Journal for Art of the Low Countries
704:A Man Smoking and a Woman Drinking in a Courtyard
577:Two Soldiers and a Serving Woman with a Trumpeter
696:Group Portrait of an Unknown Family or Company
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8:
804:A Woman Preparing Bread and Butter for a Boy
766:Two Women Beside a Linen Chest, with a Child
872:Going for a Walk in the Amsterdam Town Hall
95:Woman with Basket of Beans a Kitchen Garden
857:The Council Chamber in Amsterdam Town Hall
735:A Woman with a Basket of Beans in a Garden
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196:period, where he increasingly introduced
925:Interior with a Mother Close to a Cradle
750:Interior with a Woman Weighing Gold Coin
600:Merry Company with Two Men and Two Women
812:Woman Lacing Her Bodice Beside a Cradle
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365:(1934-6), and the Schaeffer Gallery in
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204:into the backgrounds of his paintings.
978:Interior with a Child Feeding a Parrot
758:Interior with a Young Couple and a Dog
324:However, de Hooch's dependence on the
22:Woman with Basket of Beans in a Garden
917:Mother with a Child and a Chambermaid
842:Company in a Courtyard Behind a House
262:Company in a Courtyard Behind a House
7:
1008:Woman Giving Money to a Servant-Girl
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403:List of paintings by Pieter de Hooch
168:of a nobleman, later identified as
1085:Paintings in the Kunstmuseum Basel
887:Leisure Time in an Elegant Setting
14:
623:The Courtyard of a House in Delft
156:On the left is a house with wild
647:A Woman with a Child in a Pantry
592:A Woman and Two Men in an Arbour
480:A Girl with a Basket in a Garden
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191:This painting was documented by
134:The painting shows a scene in a
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827:Card Players in a Rich Interior
280:Portrait and Social Commentary
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639:A Woman Drinking with Two Men
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413:Almshouses in the Netherlands
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1080:Paintings by Pieter de Hooch
1048:Nicolaes Pieterszoon Berchem
615:Cardplayers in a Sunlit Room
432:Galerie Sedelmeyer (1913).
102:-on-canvas painting by the
16:Painting by Pieter de Hooch
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174:Order of the Golden Fleece
1054:Dutch Golden Age painting
172:, wearing a chain of the
112:Dutch Golden Age painting
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993:Teaching a Child to Walk
680:Courtyard with an Arbour
902:Musical Party in a Hall
789:A Woman Peeling Apples
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110:. It is an example of
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774:A Boy Bringing Bread
673:(Widener Collection)
408:Charles V of the HRE
304:Holy Roman Emperor
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290:Holy Roman Emperor
114:and is now in the
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720:Lady and Her Cook
688:A Dutch Courtyard
541:List of paintings
436:published to date
393:, and Amsterdam.
349:in Paris (1913),
345:(1912 and 1925),
240:Lady and her Cook
116:Kunstmuseum Basel
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74:Kunstmuseum Basel
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631:The Golf Players
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478:Catalog nr. 45
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351:Sir Alfred Mond
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193:Peter C. Sutton
185:principal lines
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57:Oil on Canvas
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933: 1664
920:(1665-1668)
910: 1663
895: 1663
880: 1663
865: 1663
850: 1663
835: 1663
820: 1660
807:(1660-1663)
797: 1663
782: 1663
753:(1659-1662)
743: 1651
728: 1660
715:(1658-1660)
707:(1658-1660)
699:(1658-1660)
691:(1658-1660)
683:(1658-1660)
675:(1658-1660)
671:The Bedroom
666:(1658-1660)
664:(Karlsruhe)
662:The Bedroom
655: 1658
608: 1657
585: 1650
570: 1655
555: 1652
375:Kunstmuseum
371:Max Geldner
308:blotted out
273: 1665
269: 1663
247: 1660
130:Description
120:Switzerland
1069:Categories
488:0714818283
419:References
381:, London,
347:Sedelmeyer
333:Provenance
315:almshouses
271: – c.
149:, but the
62:Dimensions
534:Paintings
391:Rotterdam
326:bourgeois
293:Charles V
217:Amsterdam
198:sculpture
170:Charles V
162:pilasters
124:almshouse
87:G 1958.22
84:Accession
1050:(master)
397:See also
367:New York
166:portrait
106:painter
70:Location
1041:Related
387:Haarlem
379:Detroit
147:servant
1033:-1674)
1018:-1672)
1003:-1672)
988:-1672)
973:-1672)
958:(1670)
950:-1670)
935:-1670)
912:-1665)
897:-1665)
882:-1665)
867:-1665)
852:-1665)
837:-1665)
822:-1663)
769:(1663)
761:(1662)
745:-1661)
642:(1658)
634:(1658)
626:(1658)
618:(1658)
595:(1657)
587:-1655)
486:
383:Arnhem
363:Dieren
355:London
339:Duveen
209:Leiden
139:garden
136:summer
54:Medium
36:Artist
343:Paris
213:Delft
178:gable
158:vines
151:pearl
104:Dutch
78:Basel
484:ISBN
215:and
200:and
183:The
143:lawn
49:1661
46:Year
464:135
353:in
341:in
295:by
118:in
100:oil
1071::
1028:c.
1013:c.
998:c.
983:c.
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877:c.
862:c.
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832:c.
817:c.
794:c.
779:c.
740:c.
725:c.
652:c.
605:c.
582:c.
567:c.
552:c.
471:^
462:,
445:^
389:,
385:,
266:c.
244:c.
76:,
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