Drouais, Francois Hubert – Portrait of sculptor Edme Bouchardon (1698-1762). Next to him his sculpture Amor carving his bow and an equestrian statue of king Louis XV, 1758. Canvas, 129 x 97 cm INV. 4108 Part 4 Louvre

The composition presents a man seated in what appears to be a study or workshop setting. He is positioned slightly off-center, gazing directly at the viewer with a composed expression. The sitters attire – a richly colored, tailored coat over an elaborately embroidered waistcoat and ruffled shirt – suggests a position of considerable social standing and artistic profession. His hand rests upon a rectangular object, likely a portfolio or architectural drawing case, reinforcing his connection to creative endeavors.
Behind the man, arranged on a table draped with fabric, are several sculptures that offer significant insight into his work and reputation. A small figure of a putto, actively engaged in carving a bow, is prominently displayed. This detail serves as a direct reference to the subject’s sculptural practice, highlighting his skill in depicting movement and narrative within marble or bronze. Further back, an equestrian statue – likely representing a monarch – is visible, rendered with considerable detail and suggesting large-scale commissions undertaken by the artist. The presence of this monumental work implies involvement in projects of national importance and royal patronage.
The lighting is carefully orchestrated to draw attention to the sitter’s face and hands, emphasizing his intelligence and artistic dexterity. A warm, diffused light illuminates his features while casting shadows that add depth and volume to his form. The background is rendered with a muted palette, allowing the subject and the sculptures to take center stage.
The arrangement of objects – the tools of his trade alongside representations of his accomplishments – functions as a visual biography. It’s not merely a portrait but an assertion of professional identity and artistic achievement. The inclusion of the putto carving his bow is particularly telling, suggesting both the creative process itself and perhaps a subtle commentary on the artists own role in shaping form from raw material. The equestrian statue alludes to ambition and royal favor, reinforcing the sitter’s status within the artistic hierarchy of the time. Overall, the painting conveys an image of a skilled artisan, confident in his abilities and secure in his place within the cultural landscape.