Nine women and girls create a procession leading to a blond, smiling infant lying in a basket being held by a man next to a riverbank that runs across this horizontal landscape painting.
The tallest woman, near the center of the retinue, wears a gold, crown-like diadem, and a toga-like gown of golden yellow over a pale, slate-blue, short-sleeved dress. She stands facing our left in profile, and looks toward the baby with dark eyes under dark, arched eyebrows. Her nose is long and straight, her pink lips are closed in a faint smile, and she has a rounded chin and jawline. Her wavy, dark blond hair is braided and pulled back, and she wears a gold earring on the ear we can see. She reaches her right arm, farther from us, straight in front of her with her palm facing the ground. Three women and three girls trail behind her in a row to our right. They wear brightly colored wraps and robes in rose pink, topaz or cobalt blue, plum purple, butter yellow, or ivory white. Most look toward the baby but the girl at the back offers the woman in front of her a tiny bouquet of flowers. Two women to our left of the standing woman stoop to reach out to the basket, held by a muscular, bare-chested, bearded man. Gray, stone blocks of a wall create steps to our left and behind it, a younger, cleanshaven man, also bare-chested, and with shoulder-length, strawberry-blond hair, reaches for his marigold-orange clothing.
Trees lining the far riverbank and the brilliant blue sky with steel-gray clouds are reflected in the water’s surface. Across the river to our left, beyond a ruined stone abutment, a man in a red toga, and one in yellow, look on. More people work along the opposite bank. A city built of light gray stone stretches into the deep distance beyond.
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Sébastien Bourdon was one of the twelve founding members of the Royal Academy of Painting and his Finding of Moses embodies the principles of seventeenth-century academic art, which showed the influence of Poussin.
The book of Exodus (2:5) recounts how a Hebrew woman saved her infant son from Pharoah's massacre of Hebrew children by placing him in a basket on the Nile. Pharoah's daughter, while bathing on the banks of the river, found the child, adopted him, and named him Moses. In Bourdon's composition, Pharoah's daughter, dressed in yellow, occupies the central vertical axis of the painting, supported on her left by her ladies in waiting. The figures form a frieze, like antique sculptures, across the foreground plane. They are dressed according to the seventeenth-century concept of ancient costume and placed in a fanciful setting with Egyptian palm trees.
The careful division of the composition into three parallel planes of space recalls the principles of symmetry and order propounded by the Academy. The dignified gestures -- especially that of the princess -- and expressions of the figures tell the story in a way considered appropriate to the event, but the work is also enlivened by vivid color and clarifying light. Bourdon based his composition on earlier works of the same subject by Poussin.
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