He made his first work of sculpture of the Madonna when he was only seventeen,[2] Coysevox came to Paris in 1657 and joined the workshop of the sculptor Louis Lerambert.

[1] He trained himself further by making copies in marble of Roman sculptures, including a Venus de Medici and the Castor and Pollux.

Later, between 1701 and 1709, when Louis XIV built a new Château de Marly, where he could escape from the crowds and ceremony at Versailles, with Coysevox providing several works for that site.

The King is portrayed as a Roman Emperor on horseback, trampling his enemies, like a modern Caesar, gazing ahead to the future, as a figure of Victory offers him a crown of laurels.

Besides the works given above, he carved about a dozen funeral monuments, including those to Colbert (at Saint-Eustache), to Cardinal Mazarin (in the Louvre), and to the painter Le Brun (in the church of Saint-Nicolas-du-Chardonnet).

The faces of his busts were considered remarkably accurate; he did not flatter his subjects, but by the poses, detail and precision of the costumes he gave them a particular dignity.