Tapestry; Workshop of JOSSE DE VOS, Flanders and Brussels, c. 1720.
"The Plunder."
Wool and silk.
Presents old restorations.
Based on a cardboard by Lambert de Honot.
Piece cleaned and restored, with velcro for its placement.
Measurements: 310 x 440 cm.
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DESCRIPTION
Tapestry; Workshop of JOSSE DE VOS, Flanders and Brussels, c. 1720.
"The Plunder."
Wool and silk.
Presents old restorations.
Based on a cardboard by Lambert de Honot.
Piece cleaned and restored, with velcro for its placement.
Measurements: 310 x 440 cm.
Tapestry titled "The plunder", made around 1720 in the workshop of Judocus de Vos in Flanders, example of the Brussels textile production of the XVIII century, direct heir of the prestige reached by the great tapestry workshops of the region. Made of wool and silk and based on a cartoon by the painter Lambert de Hondt II, this tapestry is part of the series known as The Art of War, which focuses on military episodes treated from a narrative and visually striking perspective.
The scene depicts an episode of looting after the war: soldiers on horseback burst into a rural environment, while peasants, animals and household goods are scattered, generating a dynamic composition full of tension. These types of images, while reflecting the rawness of war, also responded to the taste of the time for military genre scenes, which combined drama, movement and anecdotal detail. The richness of the woven surface allows us to appreciate hallmarks of light, textures and colors, especially in the clothing, the mounts and the elements of the landscape, endowing the scene with great vivacity.
The workshop of Judocus de Vos was one of the most outstanding in Brussels in the transition from the 17th to the 18th century. Continuing a long tapestry tradition, it was able to adapt to international demand, producing high quality decorative series for European palaces and noble residences. His works are characterized by the fidelity to the original cartons, the precision of the weaving and the refined use of silk to enhance details and lighting effects. The collaboration with designers such as Lambert de Hondt II is evidence of the close relationship between painting and tapestry at this time, where the tapestry acted as a large-format "textile painting".
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