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.