The painting known as Garden of Love was finished by Peter Paul Rubens between the years 1632 and 1635. Rubens’s wife passed away when she was forty years old. Over the course of four years, he wed Helen Fuhrman, who was just sixteen years old at the time. Then they started living a joyful life. After that, the painter began to crave for the pleasure that life has to offer and themes that are based on fables in order to express his sentiments for a painting that is completely positive. All of these circumstances led to the creation of Garden of Love. This was a garden of love and a paradise on earth all at the same time. The painter continued to maintain a harmonious relationship between humanity, God, myth, and reality, as well as passionate love. A variety of expressions of love were shown by couples of men and women who were enthusiastic about one another. Warm affection was something that the women, who were dressed in finery feathers, were looking forward to experiencing. It was the small amoretto that was traveling from person to person in order to convey a message of love. This artwork by Rubens had a sweet, loving, and joyful atmosphere throughout its whole. Hera was watering the human love with her milk in order to give them the power of love, and the naked statue that was located in the upper-right corner of the image was spraying milk to the planet at this time. Not only was she the personification of her sacred nuptials, but she was also the God of love. Originally, the heaven galaxy was generated by her milk. The painting “Origin of the Milky Way” was created by Rio-Tinto rato and Rubens. Those ladies who were well-dressed and covered in enormous silk clothing with full breasts were the ones who received a response from his wife. Was it Rubens and Helen who were seen on the left? It appeared as though the large number of stunning women did not belong in this world. In the painting reproduction, a naked God was depicted playing in the temple. The grand palace gate would be used to screen the introduction, which is something that can only be imagined happening in the fantasy of the luxury of the state. Both the analogy and the actual life are represented by wonderful garments in warm hues, with the white dress being the most noticeable of the bunch. The intricate motions and rhythm were initiated progressively from left to right, and the men of the cardinal circle were the ones who eventually folded them. At the very top of the man, there was a stone fountain that was quite alive, and it included a statue of Venus that looked like a real woman and was squeezing the breast. The triangle in the diagram was filled with lovers who were seen on the stairs. In addition to being the spatial triangle, this was also the one that would be found in the plane. In addition, the vertical lines and curves contributed to the stability of the design below, along with their mutual interaction.
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