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Samuel van Hoogstraten

Samuel van Hoogstraten painted pictures mistaken for reality - an emperor was fooled, and a diarist fell for them twice.


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Samuel van Hoogstraten

Samuel van Hoogstraten painted pictures mistaken for reality - an emperor was fooled, and a diarist fell for them twice. more about the artist
Netherlands · 1627–1678 · Baroque · 60 artworks found
Samuel van Hoogstraten
1627–1678
Born August 2, 1627 (Dordrecht)
Died October 19, 1678 (Dordrecht) at the age of 51
Nationality Netherlands
Epochs Baroque
Genre Porträt
Profession Maler, Schriftsteller, Dichter, Grafiker, Kunsthistoriker
Family
Sibling: Jan van Hoogstraten, François van Hoogstraten
Teacher Rembrandt
Memberships
Bentvueghels
Notable works View of an Interior (1658), Salmacis and Hermaphroditus (1673), Trompe-l'oeil-Stilleben (1664), Selbstporträt (1647), Alter Mann im Fenster (1653)
Museums Art Institute of Chicago
Samuel van Hoogstraten

Samuel van Hoogstraten

    2nd August 1627   -   October 19, 1678

On August 6, 1651, a young painter from Dordrecht stood in the audience chamber of Emperor Ferdinand III in Vienna and presented three paintings: a portrait, a Crowning with Thorns and a still life painted to look like a real letter rack, a wooden board behind whose leather straps letters and writing implements could be tucked. The emperor was deceived. Arnold Houbraken, a later pupil of the painter, recorded that Ferdinand declared him the first painter ever to have fooled him. As punishment, he kept the picture; in return, he gave the painter a gold chain with a medal of grace. The medal is now in the Kunsthistorisches Museum Vienna. The painter was Samuel van Hoogstraten, a Dutchman, and from then on he ostentatiously included the chain and medal in his still lifes. In “Feigned Letter Rack with Writing Implements”, now in the San Diego Museum of Art, it hangs among letters, a pair of scissors and a quill; the red seal glows against the dark wood.

Samuel van Hoogstraten was born in Dordrecht on August 2, 1627. His father Dirck, a painter and silversmith, gave him his first lessons; the family belonged to the Mennonite community. After his father's death, the adolescent entered Rembrandt's workshop in Amsterdam in the early 1640s. On May 16, 1651, he set out on the grand tour that took him to Vienna; in 1652 he traveled via Venice and Genoa to Rome, where the Bentvueghels, the fraternity of Dutch artists, gave him the nickname Batavier, after the ancient people of the Netherlands. In 1653 he returned to the imperial court and followed it to Regensburg that autumn.

Man at a Window” dates from this period in Vienna and now hangs in the same museum as the imperial medal. An old man in a fur-trimmed cap leans behind the open casement of a leaded window, his gray beard falling over the frame, his gaze passing us by. A tiny glass vial stands on the stone sill, painted so precisely that one wants to reach for it. The picture feels like a practical test, for once again the eye is asked to trust a painted window.

He returned to Dordrecht in 1656. On May 22, the minters of Holland admitted him to their fellowship, and at the Dordrecht Mint he eventually served as provoost, a kind of superintendent; on June 18, he married Sara Balen. He also wrote sonnets and tragedies, while Aert de Gelder and that same Arnold Houbraken, who later recorded the imperial anecdote, studied in his workshop. From 1662 to 1667 he lived in London and painted a large perspective picture for the collector Thomas Povey. Samuel Pepys, England's most famous diarist, was fooled by it twice in January 1663 and noted that behind the open cupboard door there had been nothing but a flat painting; that was precisely what he admired most.

He took the game furthest in his perspective boxes. Six such seventeenth-century boxes survive worldwide; the most famous is by Hoogstraten and is the only one with two peepholes. The “Perspective Box of a Dutch Interior, 1663” demonstrates the principle, a walnut case painted in oils on the inside, with a glass mirror directing light into the interior. Viewed from the open side, the forms appear distorted; a cat crouches on the laid table beside a platter of oysters, while behind it a dark arch opens beneath the inscription Memento Mori, Remember Death. Only the peephole brings everything together into a convincing room.

The quietest of his illusions hangs in the Louvre: “The Slippers”. The museum dates the painting to the years 1655 to 1662; it shows a view through open doors into an empty sequence of rooms, with a broom leaning against the wall, a ring of keys hanging from a chair and the slippers waiting on the threshold. Misled by a false signature, the nineteenth century attributed the scene to the painter Pieter de Hooch, and for a time it was even considered a work by Vermeer; a dog and the figure of a girl were added to the painting and later removed. Only in 1955 did the art historian Eduard Plietzsch propose attributing the picture to Hoogstraten; today the attribution is undisputed, it hangs in the Louvre under his rightful name, and that same name now appears on the art prints we produce for our customers.

Finally, the deceiver turned his gaze upon himself and his knowledge. In 1677 he painted a “Self-Portrait”; in 1678 his textbook, the Inleyding, appeared in Rotterdam, an introduction to the high art of painting in nine books, each assigned to a Muse, and at the same time the only comprehensive theory of painting by a Dutch artist from the later seventeenth century. In it, Rembrandt's pupil passed judgment on “The Night Watch”, his teacher's famous group portrait of a civic guard: it was so painterly in conception and so powerful that all other militia paintings looked like playing cards beside it; he wished only that it had more light. Its author had only months left after publication. October 19, 1678, was his last day; Dordrecht buried its mint provoost in the Minters' Chapel of the Grote Kerk. Sara, his wife, died only a few weeks after him, on November 22, 1678.

Artworks by Samuel van Hoogstraten

60 artworks found
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60 artworks found

Samuel van Hoogstraten
Feigned Letter Rack with Writing...
1655 | oil on canvas

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Samuel van Hoogstraten
Man at a Window, 1653
1653 | oil on canvas

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Tromp-l'oeil
1664 | oil on canvas

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Samuel van Hoogstraten
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Samuel van Hoogstraten
The Slippers, late 17th century
Undated | oil on canvas

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Trompel’Oeil
1655 | painting

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Self-Portrait - Peinture de Samu...
1677 |

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Main square inside the Imperial ...
1652 |

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Samuel van Hoogstraten
The slippers An interior of hous...
17th century | painting

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Samuel van Hoogstraten
A Trompe L'Oeil of Objects Attac...
1664 | oil on canvas

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Samuel van Hoogstraten
Die blutarme Dame. 1660-78
Undated | oil on canvas

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Portrait of a young man in a red...
Undated | oil on canvas

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Samuel van Hoogstraten
Old Man in the Window - Samuel D...
1653 |

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Samuel van Hoogstraten
 
1663 | oil, mirror and walnut

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Samuel van Hoogstraten
The Adoration of the Shepherds (...
Undated | pen and ink wash over black chalk on paper

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Samuel van Hoogstraten
'The Anemic Lady'
Undated | canvas oil paint (paint)

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Samuel van Hoogstraten
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Samuel van Hoogstraten
 
Undated |

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Samuel van Hoogstraten
 
1647 | Pen and brown ink, with brush and brown wash (recto and verso) on ivory laid paper

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Samuel van Hoogstraten
Der Innere Burgplatz in Wien (pa...
Undated |

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Samuel van Hoogstraten
The Anemic Lady'
1678 |

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Samuel van Hoogstraten
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Samuel van Hoogstraten
 
1647 | Pen and brown ink and brush and brown wash, with traces of black chalk and opaque white watercolor, on cream laid paper, laid down on cream laid paper

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Samuel van Hoogstraten
Portrait of Mattheus van den Bro...
Undated | canvas oil paint (paint)

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Samuel van Hoogstraten
Judas receiving the thirty piece...
Undated | pen and ink over red chalk with wash on paper

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Ignace Joseph de Claussin (attributed to)
Oude man op sterfbed
Undated | paper

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Ignace Joseph de Claussin (attributed to)
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Samuel van Hoogstraten
Adoration by the shepherds
1647 | oil on canvas

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Samuel van Hoogstraten
Still Life in Trompe-l'oeil (Pai...
Undated | painting

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Samuel van Hoogstraten
Madonna met kind omgeven door en...
Undated | paper

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Samuel van Hoogstraten
 
Undated |

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Samuel van Hoogstraten
Boy Looking through the Window, ...
1647 | oil on canvas

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Samuel van Hoogstraten
Perspective Box of a Dutch Inter...
1663 | oil paint, glass mirror and walnut

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Samuel van Hoogstraten
Trompe-l’œil
Undated |

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Samuel van Hoogstraten
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Constantijn à Renesse
Mozes en Rehuël's dochters bij d...
Undated | paper ink chalk

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Samuel van Hoogstraten
Lady in a yellow and red dress
Undated | oil on canvas

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Samuel van Hoogstraten
Perspective Box of a Dutch Inter...
1663 | oil paint, glass mirror and walnut

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Samuel van Hoogstraten
Self-portrait, 17th century.
Undated |

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Samuel van Hoogstraten
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Samuel van Hoogstraten
 
Undated | reed pen and brown and black ink and brush and brown, gray and red wash, over black chalk

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Samuel van Hoogstraten
 
Undated |

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Perspective View with a Woman Re...
1670 | oil on canvas

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Samuel van Hoogstraten
Portret van Jacob Muys van Holy
Undated | paper

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Samuel van Hoogstraten
 
Undated | oil on canvas

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Samuel van Hoogstraten
The anemic lady
1660 | oil on canvas

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Samuel van Hoogstraten
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Samuel van Hoogstraten
Resurrection of Christ, 166570.
Undated |

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Samuel van Hoogstraten
Les pantoufles - The slippers ...
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Samuel van Hoogstraten
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Samuel van Hoogstraten
Resurrection of Christ, 1665-70
1665 | oil on canvas

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Samuel van Hoogstraten
Portrait of a studying youth Sel...
Undated |

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Rembrandt van Rijn
 
1659 | oil on canvas

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Samuel van Hoogstraten
""Autoportrait' (Self-portrait) ...
17th century |

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Samuel van Hoogstraten
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Samuel van Hoogstraten
A Doctor Visiting a young Lady i...
Undated | oil on canvas

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Samuel van Hoogstraten
Adoration of the Shepherds, c.16...
Undated | pen and brush and pencil on paper

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Samuel van Hoogstraten
Angel Appearing to Zacharias, th...
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Samuel van Hoogstraten
Stilleben mit Brief
1654 | painting

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Samuel van Hoogstraten
Portrait of Adriaan van Blyenbur...
1677 |

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Samuel van Hoogstraten
Group Portrait of the Mint Maste...
1674 |

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Samuel van Hoogstraten
De ongelovige Thomas
Undated | paper ink chalk

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Samuel van Hoogstraten
Self-Portrait, 1645.
Undated |

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Samuel van Hoogstraten
Trompe l'oeil (oil on canvas)
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Samuel van Hoogstraten
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Samuel van Hoogstraten
The Virgin and the Immaculate Co...
1675 | oil on canvas

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Samuel van Hoogstraten
The Annunciation of the Death of...
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Page 1 / 1

About the artist

Samuel van Hoogstraten
Samuel van Hoogstraten
1627–1678
BornAugust 2, 1627 (Dordrecht)
DiedOctober 19, 1678 (Dordrecht) at the age of 51
NationalityNetherlands
EpochsBaroque
GenrePorträt
ProfessionMaler, Schriftsteller, Dichter, Grafiker, Kunsthistoriker
Family
Sibling: Jan van Hoogstraten, François van Hoogstraten
TeacherRembrandt
Memberships
Bentvueghels
Notable worksView of an Interior (1658), Salmacis and Hermaphroditus (1673), Trompe-l'oeil-Stilleben (1664), Selbstporträt (1647), Alter Mann im Fenster (1653)
MuseumsArt Institute of Chicago

On August 6, 1651, a young painter from Dordrecht stood in the audience chamber of Emperor Ferdinand III in Vienna and presented three paintings: a portrait, a Crowning with Thorns and a still life painted to look like a real letter rack, a wooden board behind whose leather straps letters and writing implements could be tucked. The emperor was deceived. Arnold Houbraken, a later pupil of the painter, recorded that Ferdinand declared him the first painter ever to have fooled him. As punishment, he kept the picture; in return, he gave the painter a gold chain with a medal of grace. The medal is now in the Kunsthistorisches Museum Vienna. The painter was Samuel van Hoogstraten, a Dutchman, and from then on he ostentatiously included the chain and medal in his still lifes. In “Feigned Letter Rack with Writing Implements”, now in the San Diego Museum of Art, it hangs among letters, a pair of scissors and a quill; the red seal glows against the dark wood.

Samuel van Hoogstraten was born in Dordrecht on August 2, 1627. His father Dirck, a painter and silversmith, gave him his first lessons; the family belonged to the Mennonite community. After his father's death, the adolescent entered Rembrandt's workshop in Amsterdam in the early 1640s. On May 16, 1651, he set out on the grand tour that took him to Vienna; in 1652 he traveled via Venice and Genoa to Rome, where the Bentvueghels, the fraternity of Dutch artists, gave him the nickname Batavier, after the ancient people of the Netherlands. In 1653 he returned to the imperial court and followed it to Regensburg that autumn.

Man at a Window” dates from this period in Vienna and now hangs in the same museum as the imperial medal. An old man in a fur-trimmed cap leans behind the open casement of a leaded window, his gray beard falling over the frame, his gaze passing us by. A tiny glass vial stands on the stone sill, painted so precisely that one wants to reach for it. The picture feels like a practical test, for once again the eye is asked to trust a painted window.

He returned to Dordrecht in 1656. On May 22, the minters of Holland admitted him to their fellowship, and at the Dordrecht Mint he eventually served as provoost, a kind of superintendent; on June 18, he married Sara Balen. He also wrote sonnets and tragedies, while Aert de Gelder and that same Arnold Houbraken, who later recorded the imperial anecdote, studied in his workshop. From 1662 to 1667 he lived in London and painted a large perspective picture for the collector Thomas Povey. Samuel Pepys, England's most famous diarist, was fooled by it twice in January 1663 and noted that behind the open cupboard door there had been nothing but a flat painting; that was precisely what he admired most.

He took the game furthest in his perspective boxes. Six such seventeenth-century boxes survive worldwide; the most famous is by Hoogstraten and is the only one with two peepholes. The “Perspective Box of a Dutch Interior, 1663” demonstrates the principle, a walnut case painted in oils on the inside, with a glass mirror directing light into the interior. Viewed from the open side, the forms appear distorted; a cat crouches on the laid table beside a platter of oysters, while behind it a dark arch opens beneath the inscription Memento Mori, Remember Death. Only the peephole brings everything together into a convincing room.

The quietest of his illusions hangs in the Louvre: “The Slippers”. The museum dates the painting to the years 1655 to 1662; it shows a view through open doors into an empty sequence of rooms, with a broom leaning against the wall, a ring of keys hanging from a chair and the slippers waiting on the threshold. Misled by a false signature, the nineteenth century attributed the scene to the painter Pieter de Hooch, and for a time it was even considered a work by Vermeer; a dog and the figure of a girl were added to the painting and later removed. Only in 1955 did the art historian Eduard Plietzsch propose attributing the picture to Hoogstraten; today the attribution is undisputed, it hangs in the Louvre under his rightful name, and that same name now appears on the art prints we produce for our customers.

Finally, the deceiver turned his gaze upon himself and his knowledge. In 1677 he painted a “Self-Portrait”; in 1678 his textbook, the Inleyding, appeared in Rotterdam, an introduction to the high art of painting in nine books, each assigned to a Muse, and at the same time the only comprehensive theory of painting by a Dutch artist from the later seventeenth century. In it, Rembrandt's pupil passed judgment on “The Night Watch”, his teacher's famous group portrait of a civic guard: it was so painterly in conception and so powerful that all other militia paintings looked like playing cards beside it; he wished only that it had more light. Its author had only months left after publication. October 19, 1678, was his last day; Dordrecht buried its mint provoost in the Minters' Chapel of the Grote Kerk. Sara, his wife, died only a few weeks after him, on November 22, 1678.



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Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Still have questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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