*Rococo Revisited
Bartholomeus van der Helst (1613–1670) Venus with apple 1664  Palais des Beaux-Arts, Lille
Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) Two studies of a young children
red, black and white chalk 
 stucco decoration - Detail
by the Italian artists Diego Francesco Carlone and Paolo d’Allio
Kollegienkirche, Salzburg - Austria
(by DrMartinus)
Palazzo Reale by ±tlx on Flickr.
Detail from François-Hubert Drouais, Madame de Pompadour at her Tambour Frame, 1763-4 
The painting shows the one-time mistress of Louis XV in the last year of her life. Born Jeanne-Antoinette Poisson in 1721, she  became royal mistress and Marquise de Pompadour. She was a patron of the arts and letters and a leader of fashion who exercised considerable influence on the public policy of France.
The canvas is signed and dated on the work-table as begun in April 1763. The head, painted on a rectangle of canvas inserted into the painting, was presumably taken from life, and the rest of the picture completed in May 1764, the month after the death of Madame de Pompadour. Drouais’s painting is the last of numerous portraits of the sitter by some of the best-known painters of the day, including Boucher and Carle van Loo.
(via  The National Gallery, London)
Bartholomeus van der Helst (1613–1670)  

Abraham del Court and his wife Maria de Kaersgieter (detail)
oil on canvas
Museum Boijmans Van Beuningen 
Detail from The Queen Dowager Juliane Marie, 1776, Denmark, by Vigilius Eriksen (1722–1782)  
oil on canvas
Ivory silk bodice, petticoat and sleeve with large patterned mauve ribbon in double bows to elbow from which cascades three tiers of delicate ivory lace (engageantes), matching patterned mauve ribbon cockade-like bows to center of bodice, holding in place a delicate lace worked fichu that drapes up over the shoulders. (text by "18th Century Art—Fashion" in Pinterest)
Thomas Lawrence, Queen Charlotte, detail

Anton Raphael Mengs, Infante Gabriel of Spain (detail), ca. 1765-7 (x)
Annibal Carrache
Hommage to Diana, detail
fresco, villa Farnese, Rome
bedroom detail
Selling dolls outdoors, detail from La Fête à Saint-Cloud by Jean-Honoré Fragonard
c. 1775-1780
(A typical 18th Century ‘store’, a temporary structure for selling goods at fairs, etc.)
François Boucher (Paris, 1703-1770)
Landscape with Water Mill, 1743
Manuel Osorio Manrique de Zuñiga (1784–1792), detail
Goya (Francisco de Goya y Lucientes)  (Spanish,  1746–1828 )
 Oil on canvas
© The Metropolitan Museum of Art
The sitter is the son of the Count and Countess of Altamira. Outfitted in a red costume, he is shown playing with a pet magpie (which holds the painter’s calling card in its beak), a cage full of finches, and three wide-eyed cats. In Christian art birds frequently symbolize the soul, and in Baroque art caged birds are symbolic of innocence. Goya may have intended this portrait as an illustration of the frail boundaries that separate the child’s world from the forces of evil or as a commentary on the fleeting nature of innocence and youth.
The picture may have been executed after the child’s death in 1792, since the imagery and sinister undertone seem more characteristic of Goya’s works of the 1790s.