爱的花园（左街区） - 美国大都会艺术博物馆展品查阅

品名（中）	爱的花园（左街区）
品名（英）	The Garden of Love (left block)
入馆年号	1930年，30.53.17a
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Christoffel Jegher【1596 至 1653】【佛兰德人】
创作年份	公元 1630 - 公元 1639
创作地区
分类	印刷品（Prints）
尺寸	页: 18 1/4 x 23 3/4 英寸 (46.4 x 60.3 厘米) Mount: 22 x 28 英寸 (55.9 x 71.1 厘米)
介绍（中）	鲁本斯意识到自己作品的复制版画可以带来潜在的利润，从1619年起，他开始与版画家打交道。16世纪30年代初，他与Christoffel Jegher密切合作，转向木刻。事实上，杰格尔作为他那个时代最重要的木刻家，在艺术史上的地位完全取决于这次合作所产生的九幅大的单页木刻《爱的花园》是鲁本斯16世纪30年代的一幅画的变体（马德里普拉多博物馆）。鲁本斯的两幅图纸（杰格尔完成；见58.96.1，.2）作为模型。木刻版画将这些画反过来复制。绘画和版画将画作的构图转化为雕带，最引人注目的是将其分为两个独立的部分，将人物推到前台，并在顶部裁剪建筑。粗糙的木刻媒介的固有性质及其可以达到的效果得到了充分利用，尤其是在呈现人形方面。
介绍（英）	Having realized the potential profits to be made from reproductive prints of his work, Rubens began to engage printmakers from 1619 onward. In the early 1630s, he turned to woodcuts in close collaboration with Christoffel Jegher. Indeed, Jegher's place in art history as the most important woodcutter of his time rests exclusively on the nine large single-page woodcuts that resulted from this collaboration. The Garden of Love is a variation of a picture by Rubens from the 1630s (Museo del Prado, Madrid). Two drawings by Rubens (finished by Jegher; see 58.96.1,.2) served as models. The woodcuts reproduce these drawings in reverse. The drawings, and consequently the prints, transform the composition of the painting into a frieze, most notably by dividing it into two separate parts, pushing the figures to the foreground and cropping the architecture at the top. The inherent nature of the coarse woodcut medium and the effect that could be achieved with it were fully exploited, particularly in the rendering of the human form.