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'A strategy for success: mapping Peter Snayers's (1592-1667) urban and
courtly networks in Antwerp and Brussels

Conference Paper · January 2010

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 Art & Art Production

C’était au temps
C’était au temps où Bruxelles bruxellait
in Brussels, – Art & Art Production in Brussels, 1600–1800

où Bruxelles bruxellait
O Brußel, Princelycke ſ tadt,
des Koninghs Pronck en weerden ſ chat,
die heerſ cht door uwe overhand
ſ chier over heel het Nederland…

Peter de VleesChoudere
(† 1679)

sy m
P Os
ium
2010.12
9  10
Registration is mandatory.
Please register online at http://www2.
arts.kuleuven.be/info/artinbrussels

Registration fee: € 50 (one day: € 35)

Students: € 15 (one day: € 10)

Cover image:Peter Snayers (1592–1667), Archduke Leopold Wilhelm For further information, please
attending the feast of Our Lady of Sablon on 23 April 1651 (detail), contact Katlijne.VanderStighelen
@arts.kuleuven.be
140 × 249 cm, Brussels: Royal Museum of Fine Arts (inv. 2996) phone: +32 16 32 50 50
© Royal Museum of Fine Arts, Brussels facsimile: +32 16 32 48 63

design Rhythmus.be SY MPOSIUM 9 –10|12|2010

C’était au temps où
Bruxelles bruxellait
Art & Art Production in Brussels, 1600–1800
It would appear that ‘Flemish Baroque’ has come to be
regarded as synonymous with ‘Antwerp Baroque’. The
aim of this symposium on art and art production in Brus-
sels in the period 1600−1800 is to reconsider the art-his-
torical position of Brussels as a major hub of activity and
place of residence for courtiers and artists alike. Atten-
tion will focus on matters as diverse as literature, music,
housing, and the guild system, besides which aspects
of the art trade, style differentiation and case studies
relating to individual artists will be discussed. In the
seventeenth and early eighteenth centuries, the Habs-
burg Court was viewed as the supreme creative centre,
where systems of symbols were forged and propagated
that were designed to display both the artist’s craftsman-
ship and the ruler’s piety.
This symposium has been funded by
Research Team Art History, Faculty of Arts, KU Leuven
Faculty of Arts, KU Leuven
W.O.G. Identity, Function and Expansion of the Flemish Baroque,
Research Foundation Flanders (FWO)
Royal Museum of Fine Arts Brussels
View publication stats
t h u r s d a y, d e c e m b e r 9
Leuven, Faculty of Arts, Justus Lipsiuszaal
9  :   30 Registration and coffee
10: 15 Welcome by K atlijne Va n der S tighelen
T h e Con t e x t of t h e Ci t y
ch a i r m a n : Koe n Brose ns
10  :   30 V eer le D e L a et, At home in seventeenth-century
Brussels. Patterns of art and luxury consumption
11  :   0 0 H ar a ld D eceul a er , Fashion, luxury
and regional distribution. The clothing trades
in Brussels, 1600–1800
11:  30 K ar el P ortem a n , Enkele literairhistorische
veduta’s van Brussel
12:  10 P iet S tryckers , Het muziekleven in Brussel
in de zeventiende eeuw
12  :   4 0 Discussion
13  :   10 Lunchtime
A rt De a l i ng & A rt Produc t ion:
crossi ng b oa r de r s
ch a i r m a n : F il i p V e r m e y l e n
1 4  :   30 D r ies L y na , ‘La peinture ne flattoit plus
les personnes.’ Private collections of paintings
in eighteenth-century Brussels
15  :   0 0 E lisa beth B ru y ns  , L’encadrement des peintures
à Bruxelles au dix-septième siècle
15  :   30 L een K elchter m a ns , A strategy for success.
Mapping Peter Snayers’s (1592–1667) urban and
courtly networks in Antwerp and Brussels
16  :   0 0 Tea
16  :   30 P ier r e-Y v es K air is , Bruxelles–Liège et
retour dans la peinture du dix-septième siècle
17  :   0 0 B e atr ijs W olters va n der W ey,
‘A la recherche du temps passé.’ Het belang
van contextualisering voor de interpretatie van
zeventiende-eeuwse Brusselse ambachts- en
gildeportretten
17  :   30 Discussion
F r i d a y, d e c e m b e r 10
Brussels, Royal Museum of Fine Arts,
Small Auditorium
T h e Con t e x t of t h e Cou rt
ch a i r m a n : J ust us M ü l l e r Hofst e de
10  :   15 L uc D uer loo en D r ies R a ey m a ekers  ,
The virtue of liberality. Dynastic representation
and gift exchange at the archducal court in
Brussels, 1598–1621
11  :   0 0 J e a n- P hilippe H u ys , L’art de cour sous
Maximilien II Emmanuel de Bavière à Bruxelles,
ville princière et centre européen autour de 1700
11  :   30 K ath ar ina Va n C auter en , Seven planetary
gods to protect the capital. How Hendrick De
Clerck (1560–1630) made archducal Brussels
the centre of the universe
12  :   0 0 G er linde G ruber , ‘La Galeria … numerossima
di Quadri di tutte le sorte de migliori Maestri
oltra montani.’ The collection of archduke
Leopold Wilhelm in Vienna
12  :   30 Discussion
13  :   0 0 Lunchtime
T h e I n di v i dua l A rt ist:
som e i n t e r e st i ng c a se s
ch a i r m a n : N il s Bü t t n e r
1 4  :   30 R udi E kk art, De Brusselse schilder
Volders in Friesland
15  :   0 0 S a bine Va n S pr a ng en E elco N agelsmit,
Theodoor van Loon in context. Some examples
from Brussels
15  :   45 J ahel S a nzsal a z ar , The forgotten works of
Michaelina Wautier. Some new attributions and
an examination of her presence in her own art
16  :   15 Discussion
16  :   45 Closing remarks