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Eighteenth-Century Brussels Tapestry and the Goût Moderne: Philippe de Hondt's Series Contextualized

The study of Brussels tapestry of the first half of the eighteenth century has greatly increased since the mid-1990s. Special attention has been paid to a number of series designed by Jan Van Orley (1665-1735), who dominated the artistic terrain.1 In his shadow, Victor Janssens (16581736) has also received some recognition as a designer of tapestries.2 Stylistic analyses of their work have rightly emphasized the dependence of these designers on Flemish and French Baroque and academic classicist painting of the seventeenth century. Indeed, the influence of Peter Paul Rubens (1577-1640), Charles Le Brun (16191690), and Gérard de Lairesse (1640-171 1) can be demonstrated easily in series designed by Van Orley and Janssens. Although Van Orley 's and Janssens's highbrow, grand goût style remained popular throughout the first half of the eighteenth century, it diverged from a new taste and spirit that ripened in Paris and spread across Europe from about 1690 onward. The practitioners with this new spirit clearly aimed for a break with tradition, as revealed by the contemporary name applied to their work, the goût moderne or goût du temps now known as the Regency or Rococo style.3 Artists of goût moderne favored stylizing and idealizing everyday events over depicting grand scenes of history or faith. Enjoying commercial success were the lower genres in painting (as opposed to the "higher genres" of history and religious ubjects): peasant scenes, military compositions, grotesques,4 and depictions of modern life and interests indeed reflected the goût moderne,5 Brussels tapestry entrepreneurs ecognized the growing importance of the goût moderne and marketed a considerable number of sets that derived from contemporary genre painting, such as the immensely popular Teniers tapestries (named for the Flemish artist David II Teniers, 1610-1690), the various series of the Art of War and the Story of Don Quixote, the lesser-known yet magnificent Elements on a Ground of Grotesques produced by Judocus de Vos (1661/62-1734), and the Continents and the Elements woven in the Van der Borcht workshop. In so