*Rococo Revisited
Schloss Eggenberg in candlelight
 Schloss Eggenberg in candlelight
Chateau Rose (by Level-EX)
François-Hubert Drouais’ 18th-century ’ “Family Portrait” is dated April 1, 1756, referencing beginning of spring according to the medieval calendar
@National Gallery of Art , Washington, DC
Lefuel staircase, Le Louvre, Paris François Morellet · L’esprit d’escalier Contemporary Art at the Louvre Museum
Palais découverte ‏, Paris

(via @palaisdecouvert)

Kapsberger | Toccata arpeggiata

The hallmarks of the eighteenth century—its opulence, charm, wit, intelligence—are embodied in the age’s remarkable women. These women held sway in the salons, in the councils of state, in the ballrooms, in the bedrooms; they enchanted (or intimidated) the most powerful of men and presided over an extraordinary cultural flowering of unprecedented luxury and sophistication. It is this captivating world that Olivier Bernier recreates. A world in which the shrewdness of Madame de Pompadour or the beauty of Madame du Barry could change the course of great nations. A world that could encompass the piquant frankness of Abigail Adams and the dark plotting of the queen of Naples. This world has been swept away, but its great ladies, the first modern women, still speak to us.

Fourteen dashing and sometimes tragic women—empress and dressmaker, bluestocking and courtesan—come to life here in a series of lavishly illustrated essays. Delightfully informative, this timely book charts the beginnings of women’s liberation, illuminates the century for those who are unfamiliar with it, and provides new insights for those who know it well.

Le Jeu de colin-maillard
Noël Hallé (1711-1781) 
1770, Huile sur toile, 174 x 121,5 cm
Amiens, Musée de Picardie
Holkham Hall, Marble Hall interior ©  the Holkham Estate
Roman Ruins Near the Lagoon” by Francesco Guardi

Ruin Lust, an exhibition at Tate Britain from 4 March 2014, offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the seventeenth century to the present day.
Τhe craze for ruins overtook artists, writers and architects in the eighteenth century….

'Distant View of Maecenas' Villa, Tivoli', Richard Wilson | Tate
Maecenas, the ruins of whose villa feature prominently in the present picture, was among the most celebrated patrons of the arts in classical Rome, supporting Horace and Virgil among others. His name was also a byword for luxury and indulgence. By the eighteenth century, as David Solkin has observed, Maecenas’s villa represented at once the zenith of Roman culture and the seeds of its decline.
18:19"For those who immerse themselves in what the fairy tale has to communicate, it becomes a deep, quiet pool which at first seems to reflect only our own image; but behind it we soon discover the inner turmoils of our soul - its depth, and ways to gain peace within ourselves and with the world, which is the reward of our struggles." — -Bruno Bettelheim, The uses of Enchantment
(via tri-ciclo)