nicolas-sébastien adam in the state chamber of the princess. the bâtiments du roi commissioned him for work at the courts of accounts in paris, at the basilica of st. denis, and on the royal chapel at versailles. at the abbey he created a bas-relief saint maur seeking the aid of the lord for the healing of a child. the fathers at the oratory of paris entrusted him with the decoration of the church portal.his reception piece for the academy in 1762 was prometheus bound (french prométhée enchaîné) considered one of the masterpieces of 18th-century sculpture. his most notable work, however, is the funeral monument of the queen catherine opalińska, wife of stanislas leszczyński, at the notre-dame-de-bonsecours church in nancy. it depicts the deceased kneeling, with her hands joined in an attitude of prayer. an angel takes her by the hand to guide her to heaven. the base is of black marble. executed with great elegance, the group is regarded as one of the most remarkable and genuinely moving funeral monuments of the 18th century.
nicolas adam, like his brother lambert, was influenced by the italian baroque. he ranks with him as one of the most refined and subtle sculptors of his time. he was a major influence on his nephew, the sculptor clodion.
