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| Edme Bouchardon Study of the Apollo Belvedere ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of the Apollo Belvedere ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of The Laocoön ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of Emperor Commodus as Hercules ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of Cupid and Dolphin ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of Antique Relief - Nereid on Hippocamp ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of Antique Relief - Nereid on Marine Bull ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of Antique Relief - Nereids and Triton ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Studies of Head from the Niobid Group ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon Study of Antique Head ca. 1724-25 drawing Musée du Louvre |
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| Edme Bouchardon Study of Antique Group, The Wrestlers (from a cast at the French Academy in Rome) ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon after Gianlorenzo Bernini Bust of Cardinal Scipione Borghese ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon after Gianlorenzo Bernini Bust of Cardinal Scipione Borghese ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon after Gianlorenzo Bernini Triton Fountain, Piazza Barberini, Rome ca. 1723-32 drawing Musée du Louvre |
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| Edme Bouchardon after Domenichino St Matthew in Pendentive (fresco, Basilica di Sant'Andrea della Valle, Rome) ca. 1724-25 drawing Musée du Louvre |
"Edme Bouchardon was considered his century's greatest sculptor by many contemporaries, but his classicizing style was out of step with French tastes for the Rococo. Not only did King Louis XV offer few commissions, but of those commissions, most did not progress beyond the model stage. After winning the Prix de Rome, Bouchardon got first-hand experience of antique sculpture in Rome from 1723 to 1732, where he gained fame and commissions, even from the pope. In 1732 Bouchardon received an apartment in the Louvre, but was subsequently underemployed for a decade. When the Salon was revived in 1737, Bouchardon exhibited his models as well as his famous red-chalk drawings; both were highly sought after by his peers, including François Boucher."
– from curator's notes at the Getty Museum, Los Angeles