Accordinig to Gerhard Bissell, Le Gros was a sculptor of brilliant technical ability:
The most virtuoso marble worker of his time, he excelled in convincing the eye to see the depicted materials rather than stone.
His surfaces are so nuanced they nearly appear as different colours.
And yet, he achieved that very rare feat of integrating these fine details into monumental sculptures without appearing grotesque.

He always tended to compose his sculptures like a relief.
For his picturesque approach, an expansive shape mattered more to him than the distribution of mass and space.
While the detail as well as the large form are very three-dimensional, their volume is usually tied into a system of layers.
This leads by no means to a single point of view.
Quite the contrary because Le Gros developed all his composition into space and entices the viewer to go around the figure.
While a classicist like Rusconi linked a spatial development closely to the anatomy of the figure, Le Gros achieved this with an abundance of highly malleable drapery and extrovert gestures.
In addition, he showed a keen sense for nuanced effects of light and shadow, whether it was to make the heavily polished, white as snow figure of Luigi Gonzaga stand  out, or to cast Filippo Neri into a mystical shade.
All of Le Gros' work is characterised by a dynamic of far and near view.
It is worth getting close up to even his most heroic-scale figures.
Accordinig to Gerhard Bissell, Le Gros was a sculptor of brilliant technical ability:
The most virtuoso marble worker of his time, he excelled in convincing the eye to see the depicted materials rather than stone. His surfaces are so nuanced they nearly appear as different colours. And yet, he achieved that very rare feat of integrating these fine details into monumental sculptures without appearing grotesque.
He always tended to compose his sculptures like a relief. For his picturesque approach, an expansive shape mattered more to him than the distribution of mass and space. While the detail as well as the large form are very three-dimensional, their volume is usually tied into a system of layers. This leads by no means to a single point of view. Quite the contrary because Le Gros developed all his composition into space and entices the viewer to go around the figure. While a classicist like Rusconi linked a spatial development closely to the anatomy of the figure, Le Gros achieved this with an abundance of highly malleable drapery and extrovert gestures. In addition, he showed a keen sense for nuanced effects of light and shadow, whether it was to make the heavily polished, white as snow figure of Luigi Gonzaga stand  out, or to cast Filippo Neri into a mystical shade. All of Le Gros' work is characterised by a dynamic of far and near view. It is worth getting close up to even his most heroic-scale figures.
Pierre Le Gros the Younger