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| Antoine Coypel The Moroccan Ambassador and his Retinue at the Comédie italienne in Paris 1682 oil on canvas Château de Versailles |
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| Antoine Coypel Flora and Zephyr (Allegory of Spring) ca. 1684 oil on copper private collection |
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| Antoine Coypel Flora and Zephyr (Allegory of Spring) 1699 oil on canvas Musée du Louvre |
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| Antoine Coypel Leda and the Swan ca. 1690 oil on canvas National Trust, Brodie Castle, Moray, Scotland |
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| Antoine Coypel Baptism of Christ ca. 1690 canvas Los Angeles County Museum of Art |
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| Antoine Coypel Bacchus and Ariadne on the Isle of Naxos ca. 1693 oil on canvas Philadelphia Museum of Art |
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| Antoine Coypel Jupiter and Juno on Mount Ida ca. 1700 oil on canvas private collection |
"[Antoine Coypel] was something of an infant prodigy, and at the age of eleven accompanied his father, Noël Coypel, as a student when the latter was appointed director of the French Academy in Rome. After spending three years in Rome, where he was commended by Bernini, and one in the north of Italy, where he studied Correggio, the Bolognese, and the Venetians, he returned to Paris in 1676 and was received as a member of the Academy in 1681. . . . As regards the quality of his work, Antoine Coypel cannot rank high even among artists of his own generation, but his importance historically is considerable, partly as representing a taste which was at first in opposition to that of the King, but which eventually conquered even the Court. . . . Stylistically he is significant as having produced the two most completely Baroque decorations to be found in French art of this period."
– Art and Architecture in France, 1500-1700, by Anthony Blunt, revised by Richard Beresford (Yale University Press, 1999)
"Charles-Antoine Coypel had precocious success as a painter, as his father and teacher Antoine Coypel was the premier peintre du roi (First Painter to the King). Upon his father's death in 1722, Charles inherited the elder Coypel's painting and design responsibilities at court, became the chief painter of the duc d'Orléans, and received lodgings at the Louvre. He eventually became premier peintre himself in 1747, as well as director of the Académie Royale."
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| Charles-Antoine Coypel Perseus and Andromeda 1727 oil on canvas Musée du Louvre |
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| Charles-Antoine Coypel Destruction of the Palace of Armida (final act of Lully's opera of 1686) 1737 oil on canvas (tapestry cartoon) Musée des Beaux-Arts de Nancy |
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| Charles-Antoine Coypel Destruction of the Palace of Armida (detail) (final act of Lully's opera of 1686) 1737 oil on canvas (tapestry cartoon) Musée des Beaux-Arts de Nancy |
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| Charles-Antoine Coypel Destruction of the Palace of Armida (detail) (final act of Lully's opera of 1686) 1737 oil on canvas (tapestry cartoon) Musée des Beaux-Arts de Nancy |
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| Charles-Antoine Coypel Painting awakening Sleeping Genius ca. 1730-40 oil on canvas private collection |
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| Charles-Antoine Coypel Athalie questions Joas (scene from Racine's Athalie) 1741 oil on canvas Musée des Beaux-Arts de Brest |
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| Charles-Antoine Coypel Atalide and Roxane (scene from Racine's Bajazet) 1748 oil on canvas Palais des Beaux-Arts de Lille |
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| Charles-Antoine Coypel Pierre Jélyotte en travesti as the Nymph Plataea (in Rameau's opera Platée ou Junon jalouse) ca. 1745 oil on canvas Musée du Louvre |
"Charles-Antoine Coypel had precocious success as a painter, as his father and teacher Antoine Coypel was the premier peintre du roi (First Painter to the King). Upon his father's death in 1722, Charles inherited the elder Coypel's painting and design responsibilities at court, became the chief painter of the duc d'Orléans, and received lodgings at the Louvre. He eventually became premier peintre himself in 1747, as well as director of the Académie Royale."
– biographical notes from the Getty Museum, Los Angeles