Peter de Hokh, “Bedroom“. Woke up, rose and what`s next?“Peter de Hokh differs in the exact image of people in their everyday life, whether it be in their houses or in the closed space of the city yard. Its masterly possession of light, color and difficult constructed prospect can be compared to Jan Vermeer`s work, his contemporary and the colleague in Delft“ (from the text accompanying a picture in National gallery of arts, Washington, the USA).
Morning. Big room. Directly before the viewer - a door in a hall. Further - one more door, in a court yard behind which fence bushes, trees, roofs of the neighboring houses are visible. The diffused light falls from windows and from the door opened on the street: probably, the sun makes the way through dense fog.
The situation is not beggarly, but not magnificent. On the right - the alcove closed by a portiere with a lambrequin. Directly before the viewer - couple of chairs with the leather backs and seats trimmed with furniture nails. At the left under a window - a painted jug on a little table with massive fine-molded legs. Over a door and on a pier on the right - pictures. Under the stained-glass window separating a hall from a bedroom and at the left along walls at the same height are pasted Delft izraztsy*. A floor in the room is laid out by a terracotta tile, in a hall - an ornament from a black and white tile.
The stained-glass window curtain from dense brilliant fabric is suspended on the metal rod lying on arms: one is fixed on a wall, the second - on a door jamb. (The meticulous artist represented even holes from the glass pieces which took off from a stained-glass window.)
Against a dark portiere of an alcove - a light spot: the woman from sheets in hands, hangs a cover from dense fabric with some drawing on a back of a chair. It re-makes a bed, airs linen. Perhaps, it will change what lies under a sheet - to the right of it straws are visible (it is possible to present what amount of hay or straw is required for such bed - a cart!) .
As it is strange, but almost in the center of a picture - a chamber-pot (metal, it has a thin handle) **.
Mother smiles to the child who was going to get away on the street to play with a ball (holds in the left hand) and costs at an open door. The child has a prokazlivy look, here - here will leave and will close behind itself a door.
Some more minutes - the bed will be put in order, the pot will be emptied and sent to the place. That mother will do after that - it is unknown, but most likely - will be engaged in the joyful child.
* The Delft tile was in those days the peculiar “world of sensual things in pictures“ (Jan Amos Komensky`s expression, in 1658 which published the first in the history the illustrated textbook with the same name), the encyclopedia, rather cheap and available. Tiles undersigned manually, drawings were the most various: image of professions, childish sports, sea vessels, biblical and evangelical scenes. . The size of tiles was about 120õ120 mm. On such square them all found room pieces 200 - 300, and - with different drawings. Natural curiosity of children forced parents to answer questions. It also was primary family education.
** Perhaps, it is a tribute of tradition of the Dutch painters which in many pictures represented departure of natural needs.