De Hooch situated this scene in a voorhuis, the street-facing room in a narrow Dutch row house that receives the best light. The placement of the window and construction of the space reveal the close dialogue that de Hooch had with Johannes Vermeer at the time. But elements such as the plate of aphrodisiac oysters and canopied bed suggest that de Hooch most likely intended this particular scene to represent a brothel rather than a respectable home.
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This artwork is meant to be viewed from right to left. Scroll left to view more.
This image cannot be enlarged, viewed at full screen, or downloaded.
Fig. 1. Painting in frame: overall
Fig. 2. Painting in frame: corner
Fig. 3. Painting in frame: angled corner
This image cannot be enlarged, viewed at full screen, or downloaded.
Fig. 4. Profile drawing of frame. W 6 3/16 in. 15.8 cm (T. Newbery)
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:The Visit
Artist:Pieter de Hooch (Dutch, Rotterdam 1629–1684 Amsterdam)
Date:ca. 1657
Medium:Oil on wood
Dimensions:26 3/4 x 23 in. (67.9 x 58.4 cm)
Classification:Paintings
Credit Line:H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Object Number:29.100.7
This work dates from about 1657, when De Hooch was on the threshold of his mature style. In 1864 and 1866, Thoré paid this "superbe tableau" the compliment of attributing it to Vermeer, although Smith in 1833 had considered it "a good example" of De Hooch's manner. The price paid by the Havemeyers at the Secrétan sale of 1889 (see Provenance) was one of the highest for a Dutch painting during the nineteenth century.
Cleaning and conservation in 1995–96 and the painting's inclusion in exhibitions since then have increased understanding of its key position in De Hooch's development. Compared with almost any earlier painting by the artist, this one is more successful in its suggestion of an interior space that is established primarily by the architecture rather than by figure groups and furniture. The ceiling beams, the window, and an arbitrary seam in the floor establish main lines of recession, which are assisted by the bench and the raised shutter to the left, the nearest chair, and to some extent the covered table. However, the underscaled bed and the rather sudden shift of scale within the figure group reveal that De Hooch had adopted devices he had yet to master. Still clearly recognizable is the composition's development from De Hooch's inn scenes of a few years before, not only in the outline of space but in the interplay of light and shadow.
The contemporaneous efforts of De Hooch and Vermeer to define the space of a typical domestic interior represent the local culmination of a development that was already well under way in the South Holland area (including Delft, The Hague, Leiden, Rotterdam, and Dordrecht). What remains distinctive of De Hooch himself in this picture is the importance of daylight and shadows for the sense of space, atmosphere, and mood, and also the reticent figures, which, compared with those making theatrical gestures in some of his earlier works, appear more consistent with a style based on observation.
The couples enact a scene of playful courtship, which could be said to represent the domestication of a social theme that had earlier been set mostly in taverns and bordellos. The Delftware bowl on the table contains oysters or another delicacy, along with what appears to be a silver fork and a slice of lemon. The harbor scene on the wall must be meant to suggest worldly sophistication, since the city resembles Venice, which had a reputation for courtesans and luxury goods.
[2011; adapted from Liedtke 2007]
?Jacob Odon, Amsterdam (until 1784; his estate sale, Arnoldus Dankmeyer en Zoon, Amsterdam, September 6ff., 1784, no. 10, for fl. 300 to Braams Pelsdinge); baron François Delessert, Paris (by 1833–69; cats., 1844, no. 58, 1846, no. 80; his sale, at his hôtel, Paris, March 15–18, 1869, no. 36, as "Intérieur hollandais," for Fr 150,000 to Narischkine); B. Narischkine, Paris (1869–83; his sale, Galerie Georges Petit, Paris, April 5, 1883, no. 16, as "La Consultation," for Fr 160,000 to Cedron); E. Secrétan, Paris (until 1889; his sale, Galerie Charles Sedelmeyer, Paris, July 1–7, 1889, no. 128, for Fr 276,000 to Durand-Ruel for Havemeyer); Mr. and Mrs. H. O. Havemeyer, New York (1889–his d. 1907); Mrs. H. O. (Louisine W.) Havemeyer, New York (1907–d. 1929)
New York. The Metropolitan Museum of Art. "Loan Collection of Paintings," May–November 1891, no. 6.
New York. American Fine Arts Society. "Loan Exhibition," February 13–March 26, 1893, no. 16 (as "Interior," lent by Mr. H. O. Havemeyer, probably this picture).
New York. The Metropolitan Museum of Art. "The Hudson-Fulton Celebration," September–November 1909, no. 53 (lent by Mrs. Henry O. Havemeyer, New York).
New York. M. Knoedler & Co. "Loan Exhibition of Masterpieces by Old and Modern Painters," April 6–24, 1915, no. 5 (lent anonymously).
New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 71 [2nd ed., 1958, no. 15].
Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (p. 28).
University Art Museum, University of California at Berkeley. "Dutch Masters from The Metropolitan Museum of Art," November 25, 1969–January 4, 1970, checklist no. 7.
Houston. Rice University. "Dutch Masters from The Metropolitan Museum of Art," January 18–March 1, 1970, checklist no. 7.
New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A326.
Paris. Musée d'Orsay. "La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme...," October 20, 1997–January 18, 1998, no. 6.
London. Dulwich Picture Gallery. "Pieter de Hooch, 1629–1684," September 3–November 15, 1998, no. 8.
Hartford, Conn. Wadsworth Atheneum. "Pieter de Hooch, 1629–1684," December 17, 1998–March 14, 1999, no. 8.
New York. The Metropolitan Museum of Art. "Vermeer and the Delft School," March 8–May 27, 2001, no. 25.
London. National Gallery. "Vermeer and the Delft School," June 20–September 16, 2001, no. 25.
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
Tokyo Metropolitan Art Museum. "Vermeer and the Delft Style," August 2–December 14, 2008, no. 18.
New York. The Metropolitan Museum of Art. "Vermeer's Masterpiece 'The Milkmaid'," September 9–November 29, 2009, no. 2.
Rome. Scuderie del Quirinale. "Vermeer: il secolo d'oro dell'arte olandese," September 27, 2012–January 20, 2013, no. 15.
New York. The Metropolitan Museum of Art. "In Praise of Painting: Dutch Masterpieces at The Met," October 16, 2018–October 4, 2020, no catalogue.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. Vol. 4, London, 1833, p. 229, no. 34, as in the collection of baron Delassert [sic].
Notice sur la collection de tableaux de MM. Delessert. Paris, 1844, p. 24, no. 58, as "Intérieur d'une chambre".
Notice sur la collection de tableaux de MM. Delessert. Paris, 1846, p. 52, no. 80, as "Intérieur d'une chambre".
W. Bürger [Théophile Thoré]. "Galerie de MM. Pereire." Gazette des beaux-arts 16 (April 1864), p. 313, as "L'Intérieur de chambre"; attributes it to Vermeer.
W. Bürger [Théophile Thoré]. "Van der Meer de Delft (1er article)." Gazette des beaux-arts 21 (October 1866), pp. 316–17, 551, no. 14, as in the collection of François Delessert; as "Conversation"; attributes it to Vermeer.
Charles Blanc. "Galerie Delessert." Gazette des beaux-arts, 2nd ser., 1 (1869), pp. 202–4, ill. opp. p. 202 (etching by Charles Courtry), as "Intérieur d'une chambre"; rejects Bürger's [see Refs. 1864 and 1866] attribution to Vermeer.
Henry Havard. L'art et les artistes hollandais. Vol. 3, Paris, 1880, pp. 104–5, as "La Collation".
L'art 1 (1883), ill. p. 113 (etching by Daniel Mordant) [see Ref. Wurzbach 1906].
Henry Havard. Van der Meer de Delft. Paris, 1888, p. 36, no. 15, as "Conversation," in the Secrétan collection, Paris; as by Vermeer.
A[braham]. Bredius. "Bijdragen tot de Biographie van Pieter de Hooch." Oud-Holland 7 (1889), p. 161 n. 2.
C[ornelis]. Hofstede de Groot. "Proeve eener kritische Beschrijving van het Werk van Pieter de Hooch." Oud-Holland 10 (1892), p. 188, no. 87e, p. 189, no. 34, as the famous interior from the Secrétan sale, now in America.
W. Bode. "Alte Kunstwerke in den Sammlungen der Vereinigten Staaten." Zeitschrift für bildende Kunst, n.s., 6, no. 1 (1895), p. 72, ill. p. 17, as "Unterredung," in the Havemeyer collection, New York.
Alfred von Wurzbach. Niederländisches Künstler-Lexikon. Vol. 1, Vienna, 1906, pp. 716–17, as "La Consultation".
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Ed. Edward G. Hawke. Vol. 1, London, 1907, pp. 529–30, no. 192, as "Two Ladies and Two Gentlemen in an Interior"; gives provenance information.
Wilhelm R. Valentiner. The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, p. 54, no. 53, ill. opp. p. 54, as "The Visit," lent by Mrs. Henry O. Havemeyer, New York; dates it about 1658.
Royal Cortissoz. "Old Dutch Masters." Tribune (September 19, 1909) [reprinted in the Metropolitan Museum of Art Bulletin 4 (October 1909), pp. 166–67].
Joseph Breck. "L'art hollandais à l'exposition Hudson-Fulton à New York." L'art flamand & hollandais 13, no. 2 (1910), p. 57 [published in Dutch in Onze Kunst 17 (February 1910), p. 42], as from the artist's best period, 1655–65.
E[mil]. Waldmann. "Die Ausstellung Holländischer Gemälde des 17. Jahrhunderts in New York." Zeitschrift für bildende Kunst, n.s., 21, no. 4 (1910), p. 82, as from the artist's best period, around 1660.
Kenyon Cox. "Dutch Pictures in The Hudson-Fulton Exhibition—III." Burlington Magazine 16 (February 1910), p. 305.
Wilhelm R. Valentiner. "Die Ausstellung holländischer Gemälde in New York." Monatshefte für Kunstwissenschaft 3, no.1 (1910), p. 9, as from the artist's best period, about 1658–60.
William Bode. "More Spurious Pictures Abroad Than in America." New York Times (December 31, 1911), p. SM4.
Hans Jantzen. Farbenwahl und Farbengebung in der holländischen Malerei des XVII. Jahrhunderts. Parchim i. M., Germany, [1912], p. 24.
Arthur de Rudder. Pieter de Hooch et son oeuvre. Brussels, 1914, p. 105, as "Deux dames et deux gentilshommes".
W. R. Valentiner. "Pieter de Hooch, Part One." Art in America 15 (December 1926), pp. 47, 61, fig. 2, places it in the period between 1658 and 1663.
Clotilde Brière-Misme. "Tableaux inédits ou peu connus de Pieter de Hooch." Gazette des beaux-arts, 5th ser., 16 (1927), p. 60, ill. p. 57, as "La Collation," sometimes called "La Courtisane".
W. R. Valentiner. "Pieter de Hooch, Part Two." Art in America 15 (February 1927), pp. 74, 76, no. 7.
Abraham Bredius. "Pieter de Hooch und Ludolph de Jongh." Zeitschrift für bildende Kunst 62 (September 1928), p. 65, as "Das Frühstück".
Wilhelm R. Valentiner. Pieter de Hooch. New York, [1930], pp. X–XI, XV–XVI, 275, ill. p. 62 [German ed., 1929, pp. XIII, XVII–XVIII, 275, ill. p. 62], dates it about 1661.
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 462, ill. p. 474.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 18–19, ill.
Bryson Burroughs. The Metropolitan Museum of Art: Catalogue of Paintings. 9th ed. New York, 1931, p. 168.
Wilhelm R. Valentiner. "Zum 300. Geburtstag Jan Vermeers, Oktober 1932: Vermeer und die Meister der holländischen Genremalerei." Pantheon 10 (October 1932), p. 317.
Georg Pudelko. "Per la datazione delle opere di Fra Filippo Lippi." Rivista d'arte 18 (1936).
Franzsepp Würtenberger. Das holländische Gesellschaftsbild. Schramberg, Germany, 1937, p. 82, as "Zwei junge Paare beim Wein," in the collection of Mrs. Havemeyer [sic]; dates it about 1655–60.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 49.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, p. 19, as "Interior, a Glass of Wine".
Peter C. Sutton. Pieter de Hooch. Ithaca, N.Y., 1980, p. 79, no. 19, pl. 18, as "A Merry Company with Two Men and Two Women"; dates it about 1657; tentatively identifies it as a picture included in the Odon sale of 1704.
Frances Weitzenhoffer. "The Creation of the Havemeyer Collection, 1875–1900." PhD diss., City University of New York, 1982, pp. 109, 119 n. 24, pp. 127, 131–32, 138, 144–45 n. 37, pp. 149, 166 n. 7.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 58, 66, 77, 254, ill. p. 224 (installation photograph from Exh. New York 1915).
Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, p. 46, dates it about 1657.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 19, 191, 310 n. 37, p. 329 n. 268.
Susan Alyson Stein inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 209, pl. 187.
Walter A. Liedtke inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 65.
Rebecca A. Rabinow inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 91, 95, fig. 10 (installation photograph from Exh. New York 1915).
Gretchen Wold inSplendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 349–50, no. A326, ill.
Frances Suzman Jowell. "Thoré-Bürger and Vermeer: Critical and Commercial Fortunes." Shop Talk: Studies in Honor of Seymour Slive. Ed. Cynthia P. Schneider et al. Cambridge, Mass., 1995, pp. 126–27 n. 29, fig. 7, as "The Visit ('Merry Company')"; dates it about 1657.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 332, ill.
Michiel C. C. Kersten inDelft Masters, Vermeer's Contemporaries. Exh. cat., Prinsenhof, Delft. Zwolle, The Netherlands, 1996, pp. 143–45, 224, fig. 134 (color), as "A Merry Company with Two Men and Two Women ('The Visit')"; dates it about 1657.
Frances Suzman Jowell. "Thoré-Bürger—A Critical Rôle in the Art Market." Burlington Magazine 138 (February 1996), pp. 123–24, fig. 69.
Peter C. Sutton. Pieter de Hooch, 1629–1684. Exh. cat., Dulwich Picture Gallery, London. Hartford, 1998, pp. 13, 26, 28, 31, 102–3, no. 8, ill. (color), as "A Merry Company with Two Men and Two Women"; dates it about 1657–58.
Walter Liedtke. A View of Delft: Vermeer and his Contemporaries. Zwolle, The Netherlands, 2000, pp. 178–79, colorpl. XII, fig. 242, dates it about 1657.
Walter Liedtke et al. Vermeer and the Delft School. Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 16, 135, 140, 156, 270–72, 280, 351, 376, no. 25, ill. (color), dates it about 1657.
Frank Wynne. I Was Vermeer: The Rise and Fall of the Twentieth Century's Greatest Forger. New York, 2006, p. 169, colorpl. 14.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 15, 28, 70, fig. 13 (color)
.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 355–60, no. 84, colorpl. 84, fig. 93 (color detail); vol. 2, p. 871.
Peter C. Sutton. Vermeer and the Delft Style. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2008, pp. 52, 65, 138–41, no. 18, ill. (color, overall and detail).
Walter Liedtke. Vermeer: The Complete Paintings. Antwerp, 2008, pp. 41–42, fig. 29 (color).
Walter Liedtke. "The Milkmaid" by Johannes Vermeer. Exh. cat., The Metropolitan Museum of Art. New York, 2009, pp. 20, 26, 29, no. 2, colorpl. 2.
Leo J. O'Donovan. "An Eternal Now: Vermeer at the Met." Commonweal 136 (October 23, 2009), p. 25.
Walter Liedtke inVermeer: il secolo d'oro dell'arte olandese. Exh. cat., Scuderie del Quirinale. Milan, 2012, pp. 57, 60, 67–68, 72, 134–35, no. 15, ill. (color).
Arthur K. Wheelock Jr. inVermeer: il secolo d'oro dell'arte olandese. Exh. cat., Scuderie del Quirinale, Rome. Milan, 2012, p. 34.
Laura D. Corey and Alice Cooney Frelinghuysen. "Visions of Collecting." Making The Met, 1870–2020. Ed. Andrea Bayer with Laura D. Corey. Exh. cat., The Metropolitan Museum of Art. New York, 2020, p. 265 n. 23.
Etched by Charles Courtry (Blanc 1869) and by Daniel Mordant in the sale catalogue of the Narischkine collection of 1883.
Pieter de Hooch (Dutch, Rotterdam 1629–1684 Amsterdam)
ca. 1657–58
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
