Jean-Honore Fragonard, The Swing. 1766. Oil on Canvas,
Wallace Collection, London

In this painting, the glowing pastel colors and soft light in the foreground convey the theme's sensuality. The light colors on top of the dark background give it a very ominous feel, as well as portraying the contrast in perspective. I like the lightheartedness of the story depicted. The fallen man in the bushes portray the painting's comical story and resembles a stage scene from an actual comic opera.

Francois De Cuvillies, Hall of Mirrors, Munich Germany.
Early 18th century

I really like the way the light blue walls contrast with the silver-bronze of the stucco relief. The relief has a somewhat lively effect that gives the appearance that it is growing upwards toward the ceiling. I also love the the mirrors and the concept of them. On sunny days the light will reflect off of them, lighting the room without the need for artificial lighting. This is something that I would love to see for myself someday.

PETER PAUL RUBENS, Consequences of War,
 1638–1639. Oil on canvas. Palazzo Pitti, Florence

Much like Rubens' other paintings, the realism and structure of each individual's body is amazing in Consequences of War. The way the light reflects off of the muscle tone an defines each curve makes the painting look very realistic and almost jump of the page at you.

PIETER CLAESZ, Vanitas Still Life,  
Oil on panel. 
Germanisches Nationalmuseum, Nuremberg. 

I find the assortment of items in Claesz', Vanitas Still Life, very interesting. The cluster of random objects really catch my attention, especially the globe and the glass goblet. The way the light reflects off of both are very realistic. I also like that you can see a man's reflection in the background through the globe, as well as a scale of the room and a small window to the left.