人物修剪树木的风景，三月的寓言；诗歌：两人过桥的山地景观 - 美国大都会艺术博物馆展品查阅

品名（中）	人物修剪树木的风景，三月的寓言；诗歌：两人过桥的山地景观
品名（英）	Landscape with Figures Trimming Trees, an Allegory of the Month of March; Verso: Mountainous Landscape with Two Men Crossing a Bridge
入馆年号	1975年，1975.131.193
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Anonymous
创作年份	公元 1550 - 公元 1599
创作地区
分类	图画（Drawings）
尺寸	页: 6 3/8 x 10 11/16 英寸 (16.2 x 27.1 厘米)
介绍（中）	这幅相当奇特的双面图包含两幅草图，在风格和主题上都有很大差异。回衷图显示了一幅粗略的景观草图，人物在修剪树木。在上中心出现了公羊的黄道十二宫，并附有铭文"Martius"，表明该图像象征着三月，以及一年中那个时候的典型劳动。另一方面，反面显示了宽阔的山区全景，中心有两个穿过木桥的人物。岩石和树木的两侧是远处有城墙的山谷景色。该表以前归因于荷兰景观设计师Lodewijk Toeput。然而，在风格上，这些图画与艺术家的绘图技巧不相容;Recto在洗涤和粗略的线条应用方面表现出大胆，这是Toeput所不具备的。此外，人物的姿势和相貌是以一种某种预谋呈现的，这是人们在十六世纪艺术家的初步素描中不会想到的。相比之下，反面的图画是用较浅的墨水以细而犹豫的线条执行的。洗涤以不同的方式进行，但同样不分青红皂白。粉白色的身体颜色 - 一种与Toeput作品完全陌生的媒介 - 用于表达构图中的各种背景元素。所有这些方面都引起了人们对这幅画的作者身份的怀疑，而且正如Teréz Gerszi博士所建议的那样，这张纸很可能是抄写员的作品。[1] [1] Gerszi博士d.d.的手写笔记，1988年11月1日，博物馆文件夹。
介绍（英）	This rather peculiar double-sided drawing contains two sketches that are widely divergent in both style and subject matter. The recto shows a cursory sketch of a landscape with figures pruning trees. In the upper center appears the zodiacal sign of the Ram, accompanied by the inscription ‘Martius’, indicating that the image is meant to symbolize the month March, with the typical labors of that time of year. The verso, on the other hand, shows a wide mountainous panorama with at its center two figures crossing a wooden bridge. Rocks and trees flank the view on a valley with city walls in the distance. The sheet was previously attributed to the Netherlandish landscapist Lodewijk Toeput. Stylistically, however, the drawings are not compatible with the artist’s draftsmanship; the recto shows a boldness in the application of washes and crudeness in line that is uncharacteristic of Toeput. The posture and physiognomy of the figures, moreover, are rendered with a certain premeditation that one would not expect in a preliminary sketch by a sixteenth-century artist. In contrast, the drawing on the verso is executed in thin and rather hesitant lines with a lighter ink. The washes are applied in a different, but equally indiscriminate manner. A pinkish-white bodycolor – a medium completely alien to Toeput’s work – is used to articulate various background elements in the composition. All these aspects raise doubt about the drawing’s authorship, and it seems likely that, as has been suggested by Dr. Teréz Gerszi, this sheet might be the work of a copyist.[1] [1] Handwritten note of Dr. Gerszi d.d. 1 Nov. 1988 in museum folders.