这幅宏伟的自画像的场景设在“爱的花园”里，与鲁本斯位于安特卫普宅第背后的花园类似，画中有艺术家本人、他的第二任妻子海伦娜·福尔曼和他们的其中一个小孩，赞美了作为妻子和母亲的海伦娜。这对夫妻在1630年结婚，共育有五个孩子；图上这个孩子一定是出生于1633年 7 月12 日的弗兰斯。他的姐姐克拉拉·乔安娜没有出现在这幅画中，可能是因为这幅画是为了赞美海伦娜给这位富有的画家添了一位男性子嗣（他将继承父亲的所有财产）。鹦鹉是圣母玛丽亚的标志之一，因此象征着完美的母性地位。

   The artist, his wife Helena, and one of their sons appear within an idealized version of the garden at the mansion Rubens built in his native city of Antwerp. The leather strap across Rubens’s chest alludes to his right, as a nobleman, to carry a sword, while the rhyming ribbon tied across his son’s chest playfully positions him as his father’s heir. There was a nearly forty-year age gap between Rubens and his second wife, whom contemporaries widely recognized as his muse and model. The juxtaposition of her plump and pearlescent young hand with his ruddy and weathered one emphasizes both their physical disparities and their physical connection.
   This painting was seized by the Nazis from baron Édouard de Rothschild in Paris and restituted to him in 1946.

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