The sense of smell

Mercier employed fine brushwork to render the lace trim, ribbons, and soft fabric of the girl’s dress, emphasizing texture without excess ornamentation. The dark, unmodeled background isolates the figure, enhancing focus on her form and the flower. Light falls gently across her face and hands, a hallmark of Rococo portraiture that balances refinement with naturalism.

Created during Mercier’s time in England, the painting reflects his role in bridging French Rococo traditions with British tastes. It remained in private collections before entering the Museum of New Zealand Te Papa Tongarewa’s holdings. Its journey to New Zealand underscores the global circulation of 18th-century European art through colonial and institutional networks.

In mid-18th-century Europe, allegorical series of the five senses were popular among aristocratic patrons. Mercier’s version aligns with this trend, yet avoids theatricality, favoring subdued grace. His work contributed to a shift in British art toward more intimate, psychologically nuanced portraiture, distinct from the grandeur of earlier Baroque styles.

Though not widely exhibited, the painting exemplifies Mercier’s influence on British visual culture. His approach to delicate subject matter and refined technique informed later portraitists, particularly in the depiction of childhood and domestic tranquility. The work remains a quiet testament to the transnational exchange of artistic ideas in the Enlightenment era.