One of the most influential still life painters of the 18th century was Jean Siméon Chardin. His mastery of the still life composition was widely acknowledged in his lifetime and for generations after his death, by painters such as Édouard Manet, Paul Cézanne, Georges Braque, and Giorgio Morandi (JAMA cover, July 13, 2011). One of Chardin's students was Thomas-Germain-Joseph Duvivier (1735-1814), the son of engraver Jean Duvivier, who shared artists' quarters in the Louvre with Chardin. By 1750, Duvivier was exhibiting and receiving critical notice for the similarity of his paintings to those of his mentor. A good example is Attributes of Sculpture and Architecture, which is a painting of a heap of papers, tools, and instruments next to a plaster statuette. In subject matter it is similar to a 1766 Chardin painting called Attributes of the Arts and Their Rewards —also a heap of papers, tools, and instruments next to a plaster statuette. The differences in the two paintings are subtle; in the Duvivier painting, the objects flow together, whereas in the Chardin they are sharply distinct.
Cole TB. An Architect's Table. JAMA. 2011;306(7):684. doi:10.1001/jama.2011.1140