Like other Flemish artists of his time, van den Bosche was mindful of the prevailing preference in the market for French and Parisian art and adapted his Flemish style to conform to Paris tastes. As was customary in Antwerp, van den Bossche collaborated with other specialist painters. His collaborations with Pieter van Bloemen (an animal specialist) and Jacob Balthasar Peeters (an architectural painter) are documented. Van den Bossche gained a reputation with his representations of artist studio interiors and art collector galleries. He often painted pendant works with one of the pair of paintings representing an artist studio and the other the patron in his home with his collection. The genre of the 'gallery paintings' is native to Antwerp where Frans Francken the Younger and Jan Brueghel the Elder were the first artists to create paintings of art and curiosity collections in the 1620s. Gallery paintings depict large rooms in which many paintings and other precious items are displayed in elegant surroundings usually with the owner present. The earliest works in this genre depicted art objects together with other items such as scientific instruments or peculiar natural specimens. The genre became immediately quite popular and was followed by other artists such as Jan Brueghel the Younger, Cornelis de Baellieur, Hans Jordaens, David Teniers the Younger, Gillis van Tilborch and Hieronymus Janssens. The art galleries depicted were either real galleries or imaginary galleries, sometimes with allegorical figures. The later development of the genre to which van den Bossche contributed depicted the figures in the gallery paintings in a manner which emphasised that they formed part of an elite with privileged knowledge of art. His gallery paintings thus were a medium to accentuate the notion that the powers of discernment associated with connoisseurship are socially superior to or more desirable than other forms of knowledge. The artist studio genre developed in the 15th century when artists started representing themselves in elevated historical guises, either as the Evangelist Luke painting Mary and the Infant Jesus or as famous painters from antiquity such as Apelles, painter to Alexander the Great. Seventeenth-century Dutch painters inverted the traditions of the two preceding centuries by rejecting historical guises and idealised settings and substituting more direct, true-to-life images of the painter at work. Some artists such as Adriaen van Ostade created images of very dilapidated studios, as if a painter of peasant scenes like himself should be a peasant in real life.