This paper examines artistic exchange between eighteenth-century Brussels and Vienna, a conduit o... more This paper examines artistic exchange between eighteenth-century Brussels and Vienna, a conduit of artistic sharing that was made possible by the Habsburg governorship of the Austrian Netherlands, roughly contiguous with the modern nation of Belgium. My discussion treats the role of the Habsburg-appointed governor general of the province, Charles Alexander of Lorraine, who was seated in Brussels between 1744 and 1780. Although born in the Duchy of Lorraine, his family had Habsburg roots, which were strengthened by a marriage that made him Empress Maria Theresa's brother-in-law. Charles was largely responsible for stimulating both the mechanical and fine arts industries in the Austrian Netherlands after a lengthy period of weak activity, financial insecurity, and political unrest. I shall concentrate on the role of Brussels as an entry point into the empire of art intended ultimately for Vienna. Brussels's geographic proximity to Paris, Hamburg, Amsterdam, and London-major artistic centers allrendered it the central node for a network of artistic exchange across northeastern Europe, and a more convenient court for ambitious artists to target than the empire's distant capital. This paper will examine the geographic transferal of paintings by Peter Paul Rubens, Japanese Imari mounted porcelain, and luxury marquetry wall panels, all of which passed through Belgium en route to Austria. My point shall be to emphasize the importance of Habsburg Brussels as an artistic site and the role of the imperial family both as drivers of artistic exchange and the recipients of its benefits.
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Talks by Michael Yonan