![]() ![]() The light, entering through the plain glass windows, created an accentuated play of shadows in the room. This connection between rooms with different sources of light is typical of De Hooch and was perfected in his work between 16. The room, illuminated by natural light entering from the large window on our right, leads on to another space through an open door on the left that gives onto the exterior. As in architectural paintings, De Hooch added the figures later, and it is possible to see various pentimenti (such as the dog, which was originally further to the left). He used an exaggeratedly broad viewpoint whose vanishing point lies in the centre of the painting in the spot where the couple seen from behind look at the painting on the end wall. In addition to being a historical document of the highest importance as it reproduces the original decoration of this famous room in the recently built Town Hall of Amsterdam, the canvas also offers a vision of citizens during their leisure time, visiting the city’s most important building.įor his depiction of the room, De Hooch applied the principles of another genre of Dutch painting, that of architectural views, whose rules he could have learned from Carel Fabritius. It departs from his normal subject matter, which had reached its maximum level of quality during his Delft period. Interior of the Council Chamber of Amsterdam Town Hall was painted in the 1660s after De Hooch had moved to that city. Dreesman in Amsterdam and with two further galleries before it was acquired for the Thyssen-Bornemisza collection in 1960 from the Cramer gallery in The Hague. Böhler & Steinmeyer in Munich and New York in 1929, and again in 1931 with Rheinhardt. It was later with various galleries: Van Diemen in The Hague in 1925, H. ![]() The history of the present canvas is known from the early 20 th century when it belonged to Peter Ernst, Baron of Stackelberg, passing by inheritance to his son Egbert, in whose collection it was to be found in 1918. ![]() These scenes, which allow us entry into the private spaces of Dutch homes in the second half of the 17 th century, show life as it takes place with all its small details. His models were middle-class wives and young women engaged in their daily activities or captured in moments of leisure. Like his contemporary Vermeer, Pieter de Hooch depicted scenes of everyday life set in tranquil interiors. ![]()
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