Gonzales Coques stands as a significant figure in the rich tapestry of Flemish Baroque painting. Active primarily in Antwerp during the 17th century, he carved a distinct niche for himself, becoming particularly renowned for his elegant portraits and sophisticated group scenes. Though perhaps living in the shadow of giants like Rubens and Van Dyck, Coques developed a refined style that earned him considerable acclaim and the evocative nickname "de kleine van Dyck," or the "Little Van Dyck," referencing his stylistic affinity with the celebrated court painter Sir Anthony van Dyck. His work offers a fascinating window into the lives and aspirations of the affluent merchant class and aristocracy of his time.
Flemish Roots and Early Training
Despite his first name, Gonzales, which might suggest Spanish origins, Gonzales Coques was thoroughly Flemish. He was born in Antwerp, likely between 1614 and 1618, to Pieter Willemsen Coques and Anne Beys. Some records suggest his father's original surname might have been Coxc, later adapted to Coques, reflecting the fluid naming conventions of the era. His artistic journey began formally in 1627 when he was registered as an apprentice with the esteemed painter Pieter Brueghel the Younger, known for carrying on the Brueghel family's artistic legacy, particularly through copies and variations of his father's work.
Following his time with Brueghel, Coques continued his education under David Ryckaert II (also known as David Ryckaert the Elder), a painter recognized for his genre scenes. This diverse training likely exposed Coques to various artistic traditions prevalent in Antwerp. His apprenticeship concluded, and he was officially admitted as a master painter into the prestigious Guild of Saint Luke in Antwerp between 1640 and 1641. This status granted him the right to establish his own workshop, take on pupils, and sell his works independently.
The Enduring Influence of Van Dyck
The comparison to Anthony van Dyck was not superficial; it defined much of Coques's contemporary and posthumous reputation. Van Dyck, an Antwerp native himself who achieved international stardom, particularly in England as court painter to Charles I, epitomized aristocratic elegance and psychological insight in portraiture. Coques clearly admired Van Dyck's sophisticated compositions, refined handling of paint, and ability to convey status and grace. He absorbed these qualities, translating them into his own preferred, more intimate scale.
The exact nature of Coques's connection to Van Dyck's work is debated. Some art historians speculate that Coques may have travelled to England, possibly during the late 1630s, to study Van Dyck's paintings firsthand. Van Dyck was based in London from 1632 until his death in 1641, though he made return visits to Flanders. Whether through direct observation abroad, studying works available in Antwerp, or personal contact, Coques skillfully adapted Van Dyck's courtly style for a different format and, often, a slightly less elevated clientele, though he certainly attracted patrons from the highest circles as well.
Master of the Conversation Piece
While capable of producing historical paintings, Gonzales Coques truly excelled in portraiture, particularly in the genre known as the "conversation piece." He is considered an innovator of this format within the Antwerp school. These works typically depict small groups, often families or associates, engaged in genteel activities or simply posing within elegant domestic interiors or idealized garden settings. Unlike the grand, formal state portraits associated with rulers, conversation pieces offered a more relaxed, intimate glimpse into the sitters' lives.
Coques's conversation pieces are characterized by their relatively small scale, making them suitable for display in private homes rather than large palace halls. He paid meticulous attention to detail, rendering luxurious fabrics, intricate lace, fashionable attire, and well-appointed surroundings with exquisite precision. These details not only showcased his technical skill but also served to emphasize the wealth, status, and refined tastes of his patrons. The figures are often arranged gracefully, interacting subtly, creating a sense of quiet decorum and familial harmony.
Refined Style and Technical Skill
The overall impression of Coques's work is one of elegance and polish. His brushwork is typically smooth and controlled, allowing for fine detail without appearing laboured. He possessed a keen sensitivity to colour, employing sophisticated palettes that contribute to the harmonious atmosphere of his paintings. His handling of light is subtle yet effective, modeling forms gently and highlighting the rich textures of materials like silk, velvet, and polished wood.
This refinement extended to single portraits as well. Even when depicting individuals rather than groups, Coques imbued his subjects with an air of dignity and grace. He managed to capture likenesses effectively while adhering to the prevailing ideals of beauty and decorum. His ability to combine realistic portrayal with fashionable elegance made him highly sought after by those wishing to project an image of sophistication and social standing.
Notable Works: Allegory and Portraiture
Among Coques's most interesting works is a series of allegorical paintings representing the Five Senses. Examples like Taste, Smell, and Touch survive today, often depicting elegantly dressed figures engaging in activities symbolic of the sense being portrayed – perhaps enjoying a meal for Taste, smelling flowers for Smell, or handling fine textiles for Touch. These works combine portrait-like figures with allegorical themes, showcasing Coques's versatility and his engagement with popular artistic conventions of the time. They are typically set in luxurious interiors or gardens, consistent with his preferred milieu.
Another key work often cited is The Young Scholar and His Sister (or similar titles). This painting exemplifies the charm of his conversation pieces, depicting two children in a domestic setting, possibly hinting at themes of education and sibling affection. Such works capture a sense of intimacy and personal connection that distinguishes them from more formal portraiture. He also painted portraits with mythological or religious guises, such as the Portrait of a Woman as Saint Agnes, blending portraiture with history painting elements.
A Network of Collaboration
Like many successful Antwerp masters, Gonzales Coques frequently collaborated with other specialist painters. This practice was common and efficient, allowing artists to focus on their areas of expertise – figures, landscapes, architecture, or still life elements – within a single composition. Coques, primarily a figure painter, is known to have worked with several notable contemporaries.
Documented collaborators include Jacob van Arthois, a leading landscape painter who would provide the natural backdrops for some of Coques's outdoor group portraits. For architectural settings, Coques sometimes turned to specialists like Anton Ghering. Interior scenes might feature perspectives or architectural details painted by masters such as Hendrik van Steenwijk the Younger. Furthermore, still life elements, such as flowers or fruit, could be added by artists like Pieter Gysels. These collaborations resulted in rich, multi-layered compositions that showcased the diverse talents within the Antwerp art scene.
Esteemed Patrons and International Reputation
Coques's refined style found favour with a distinguished clientele, both locally and internationally. His patrons included members of the affluent bourgeoisie of Antwerp, as well as figures from the aristocracy. Significantly, his work attracted attention from royalty and high nobility abroad. He received commissions from patrons in the Dutch Republic, including possibly Frederick Henry, Prince of Orange.
His reputation extended to England, where his style, reminiscent of Van Dyck, was highly appreciated. Both Charles I and, later, Charles II and his brother James, Duke of York (later King James II), are known to have owned works by Coques. This royal patronage underscores the high regard in which his art was held. Consequently, paintings by Gonzales Coques entered prestigious collections across Europe, and today his works can be found in major museums in cities such as Berlin, Dresden, Paris, London (including the National Gallery and the Wallace Collection), and Vienna.
Civic Life and Professional Standing
Beyond his workshop, Gonzales Coques was an active participant in Antwerp's civic and artistic life. His standing within the professional community is evidenced by his election as dean of the Guild of Saint Luke on two separate occasions, serving terms in 1665-1666 and 1679-1680. Holding this position was a significant honour, reflecting the respect he commanded among his peers.
Coques also demonstrated interests beyond painting through his involvement with the Chambers of Rhetoric (Rederijkerskamers). These societies were dedicated to poetry, drama, and rhetoric. Coques was associated with two such chambers, the 'Violieren' and the 'Olijftak,' even serving as dean or president. This suggests a man of broader cultural and intellectual engagement. His reputation was further cemented by praise from contemporaries, such as the writer and artist Cornelis de Bie, who lauded him in his influential book Het Gulden Cabinet vande Edel Vry Schilderconst (The Golden Cabinet of the Noble Liberal Art of Painting) published in 1661.
Personal Milestones and Professional Rivalries
Gonzales Coques's personal life saw two marriages. In 1643, he married Catharina Rijckerts (or Ryckaert). She was the daughter of David Ryckaert II, Coques's former teacher, thus strengthening his ties within the Antwerp artistic community. The couple had two daughters, one of whom, Catharina Theresia Coques, reportedly also became a painter, though little is known of her work. Following his first wife's death, Coques remarried in 1675 to Catharina Rysheuvels; this second union appears to have been childless.
The competitive nature of the Antwerp art market sometimes led to disputes. Coques himself was involved in a legal conflict with fellow painter Abraham van Diepenbeeck, a respected artist who had worked with Rubens. The dispute reportedly concerned allegations of plagiarism, from which Coques ultimately emerged victorious. Such incidents, while perhaps unpleasant, highlight the professional rivalries and the importance of originality and reputation in the bustling art world of the time.
Antwerp's Golden Age: The Artistic Context
To fully appreciate Gonzales Coques, one must consider the vibrant artistic environment of 17th-century Antwerp. Although the city faced economic challenges after the closure of the Scheldt estuary, it remained a powerhouse of artistic production, particularly during the first half of the century, often referred to as the Antwerp School's Golden Age. This era was dominated by the towering figure of Peter Paul Rubens, whose dynamic Baroque style influenced generations. Anthony van Dyck emerged from Rubens's workshop to become an international star in his own right.
Beyond these giants, Antwerp boasted a wealth of talent across various specializations. Jacob Jordaens produced robust history paintings and genre scenes. David Teniers the Younger achieved enormous success with his lively depictions of peasant life. Frans Snyders and Jan Fyt were masters of animal painting and opulent still lifes, while Adriaen Brouwer captured the grittier side of tavern life. The Brueghel dynasty, including Jan Brueghel the Elder and Jan Brueghel the Younger (Pieter the Younger's brother), excelled in detailed landscapes and flower paintings. Coques operated within this diverse and competitive market, finding his successful niche in elegant, small-format portraiture.
Later Years and Enduring Legacy
Gonzales Coques remained active as a painter in Antwerp throughout his life. He continued to produce portraits and potentially other works until his death in the city on April 18, 1684. He left behind a significant body of work that solidified his reputation as a master of refined portraiture.
His primary contribution to Flemish art lies in his popularization and perfection of the small-scale group portrait or conversation piece within the Antwerp school. He successfully adapted the aristocratic elegance pioneered by Van Dyck to a more intimate format, appealing to the tastes of wealthy burghers and nobility alike. While the nickname "Little Van Dyck" highlights his debt to the greater master, it also underscores his own distinct achievement in creating works of enduring charm, technical brilliance, and historical value. He remains a key figure for understanding the nuances of portraiture and patronage in the Flemish Baroque era.
Conclusion
Gonzales Coques navigated the competitive art world of 17th-century Antwerp with considerable skill and success. By specializing in elegant, small-scale portraits and conversation pieces, he carved out a distinct identity, earning the appreciative moniker "Little Van Dyck." His meticulous technique, refined aesthetic, and ability to capture the sophisticated milieu of his patrons ensured his popularity during his lifetime and secured his place in art history. His works continue to be admired in museums worldwide, offering valuable insights into the social and cultural life of the Flemish Baroque period and standing as testaments to his considerable artistic talent.
