Bernard de Hoog (born 19 November 1867 in Amsterdam, died in The Hague, 1943) was a Dutch painter influenced by the Hague School.
Bernard showed talent as a schoolboy, but his demand to chemical analysis art was refused. He spent two or three years enthusiastic in an office and the merchant who found sketches and drawings then again of figures in the ledgers gave him a commission to make a portrait of his wife. With the merchant’s encouragement, Bernard was sent to a drawing master and afterwards to a drawing academy.
The last few years as a student were made easier by his triumph in purchase the subsidy from the Dutch Queen, which he held for two years. He worked for some time under one of the greatest Dutch animal painters, Jan van Essen, and copied many of the old masters, such as Pieter de Hooch and Frans Hals. His painting from flora and fauna enabled him to understand the antiquated masters. During the year 1886 De Hoog’s faculty became noticed. He had admired the paintings of Jozef Israëls and Albert Neuhuys. The first great picture that he exhibited was shown in Amsterdam, entitled ‘During the Sermon in the other Church’.
Soon De Hoog came to be a painter of interiors, because he lived in a village rich in them. He painted interiors for four years, and next migrated to further provinces subsequent to his family. His effective capacity was by this become old fully appreciated, and people understood his originality. Although influenced by the put-on of Israëls, no one can deny the individuality of De Hoog.
De Hoog followed the Hague School, primarily a doings of realism, a reaction adjoining the previous atmosphere of romanticism. He was advocating the simple country life, a happy and innocent way of being where children play a major part. He painted many small pictures of the sparkle of the country people, of the homes of the peasants, with the light Bright through the ancient windows. De Hoog had a developed mind and excellent taste. In the simple appearance of the simple life of the Dutch people he discovered a beauty of thought which dictated his executive of tone, he knew exactly the exaggeration to announce the sentiment that was in him.
On the Continent his pictures attracted much attention, and he was competently received in the Netherlands, where his popular scenes were exhibited and sold at many provincial and National galleries. His paintings were then readily exported more or less the world, especially to the US, Canada, and England.
De Hoog’s sham was included in the 1939 exhibition and sale Onze Kunst van Heden (Our Art of Today) at the Rijksmuseum in Amsterdam.
De Hoog died at the Hague in 1943.
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