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Pen And Brown Ink Brown And Green Wash Heightened With Light Blue Gouache Over Black Chalk Poster featuring the painting The Garden of Love -right portion-. by peter paul rubens Workshop of Peter Paul Rubens

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Top Mat

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Dimensions

Image:

8.00" x 5.50"

Overall:

10.00" x 7.50"

 

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The Garden of Love -right portion-. Poster

peter paul rubens Workshop of Peter Paul Rubens

by peter paul rubens Workshop of Peter Paul Rubens

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$17.35

Product Details

The Garden of Love -right portion-. poster by peter paul rubens Workshop of Peter Paul Rubens.   Our posters are produced on acid-free papers using archival inks to guarantee that they last a lifetime without fading or loss of color. All posters include a 1" white border around the image to allow for future framing and matting, if desired.

Design Details

The Garden of Love (right portion). Artist: Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); Workshop of Peter Paul Rubens (Flemish, Siegen... more

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3 - 4 business days

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Poster Tags

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Painting Tags

paintings peter paul rubens paintings brown paintings europe paintings ink paintings pastel paintings watercolor paintings 17th century paintings baroque paintings

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Artist's Description

The Garden of Love (right portion). Artist: Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); Workshop of Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). Dimensions: 18 3/4 x 27 13/16 in. (47.6 x 70.6 cm). Date: ca. 1633-35.
Rubens supervised the engravers who reproduced his paintings throughout his career. Only in the early 1630s did he turn to woodcuts, in close collaboration with Christoffel Jegher. These monumental drawings are models based on a composition also known from Rubens's painting in the Museo del Prado, Madrid. They were made for Jegher's woodcuts, which reproduce them in reverse. The initial design in black chalk is by Rubens, while most of the rest of the drawing can be attributed to a workshop assistant. The drawings essentially transform the composition 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. This frieze-like adaptation gives the figural groups a...

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