*Rococo Revisited
Triumph of the Marine Venus Sebastiano Ricci (1659–1734)
about 1713 oil on canvas Getty Center
Born from the sea, the mythological goddess Venus sits upon a throne pulled by muscular men and surrounded by her entourage. Her son Cupid flies nearby and grasps a handful of coral from a plate held by an attendant. Perched above Venus, a woman holds a string of pearls, a typical adornment of the goddess. The pearls fall through her hair and down along her shoulder. The composition is arranged in a loose pyramidal shape with Venus at the apex. Sebastiano Ricci used an array of flesh tones to describe and model the playful, graceful figures. Venus’s softly painted skin is a creamy white with touches of pink in her cheeks, chest, stomach, and knees; her flesh glows as if lit from within. Against the blue sky, streaks of pink paint describe wispy clouds and fading sunlight. With the Triumph of the Marine Venus, Ricci made a transition from a more classical Baroque style of dramatic gestures, bold colors, and serious subject matter to a more Rococo style of light, pastel colors, elegant, graceful figures, and decorative compositional elements.
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François Boucher (1703–1770): The Secret Message.
Schloss Eggenberg,  Planetary RoomBuilt post-1625 by north Italian architect and artist Pietro de Pomis as a residence for imperial governor Hans Ulrich von Eggenberg (1568-1634), Eggenberg Palace (Graz, Austria) was intended as a political statement. The house was designed as a huge allegory, a symbolic representation of the universe, where the erudite client set out his notion of an ideal world in an age of chaos and disintegration. 
Crucial for the status of Schloss Eggenberg as a large-scale work of art is a series of 24 state rooms centered on the large Planetary Room. The interiors are Baroque and Rococo, largely unchanged since the 18th century. The most notable feature is a series of over 500 17th-century ceiling paintings, forming a complex pictorial synthesis, eloquent of the early Baroque view of the world. 
Detail from a pair of candelabra:  The little girl with the cage
around 1752-1753
soft porcelain
Pierre Blondeau (sculptor), after François Boucher (1703-1770) painter
Vincennes factory (1745-1756)
lock : detail from a chest of drawers 

Paris, 18th century   (Louis XV era).

Saunier Jean-Baptiste (Carpenter)
(C) Louvre Museum, Dist. RMN / Martine Beck-Coppola
Thomas Germain  (1673 - 1748)
Silver Saltcellars (composed of a crab, a turtle and a scallop)
1734-36
Masterpieces of the rocaille, these saltcellars demonstrate the inventiveness of  the rococo style. They are very naturalistic, inspired by the sea flora and fauna: 3 sea animals on a small fluted platter evoking a shell - a turtle, in the center, on the right, a crab and on the left, a scallop - are all laid on a bed of grass and seaweed. The top part of each animal is hinged and lifts to reveal a silver compartment, which used to contain the salt. The shells of the turtle and of the crab, as well as of the scallop, are worked over finely with chasing to bring out their texture. 
Thomas Germain (1673 - 1748)
Silver wine bottle cooler rococo
1727-28
Silver 
Filled with movement, the  emblematic of the rocaille coolers by Thomas Germain are covered with an exuberant decoration of vegetation. Grapevines laden with grapes and leaves climb up the sides of each vase, twisting into handles. Little snails crawl through this image of nature represented in a very realistic manner. Both wonderful products of the rocaille imagination, these coolers must be counted among the style’s most lavish accomplishments. 
In the ‘service à la française’, bottles of wine and glasses were never set on the table and were always served very cold. Bottle and glass ‘rafraîchissoirs’ or ‘coolers’ were used for this purpose. 
Normandy chateau constructed in the 11th century and renovated in the 18th century; a Louis XV daybed.  (Gérard Tremolet’s Home - via ELLE DECOR)
Detail from a sofa
(via Treasures from the National Trust )
 Attributed to Louis Tessier
Paris circa 1719 - 1781
A marmoset taking sweets on a painted commode
Clam-Gallas Palace, in the Old Town of Prague, built between 1713 and 1719 by Johann Bernhard Fischer von Erlach on behalf of, descendants of Matthias Gallas.
Claydon House
The North Hall at Claydon House. A niche on one side of the fireplace containing a bust representing America is one of a set of four continents., 
Buckinghamshire, England
 Chippendale  mirror  in an elaborate, oval frame of carved and gilt wood formed of symmetrical scroll-work. 
Great Britain, UK 
ca. 1765 

Although here labelled as a mirror, this type of object in the 18th century was described as a girandole or sconce. The mirror glass reflects the candlelight to increase the volume of light. Here, the girandole frame has become a vehicle for elaborate Rococo carving, with flowers, leaves,  and birds (cranes often called ho-ho birds). The gilded carved surfaces also reflect candlelight.
OZIAS HUMPHRY (HONITON 1742-1810 LONDON) PORTRAIT OF A LADY,  IN A LAVENDER AND WHITE DRESS, PLAYING A LYRE (via Christie’s)
Newby Hall
The drawing room 
Yorkshire  England
Designed by Sir Christopher Wren, interiors by  Robert Adam  furniture by Chippendale  , Gobelins tapestries and classical statuary.
Photo: Julian Nieman