From 1733 to 1740 Boudard stayed in Rome in alternating phases and the first verified proofs of his clay works are precisely from those years; in 1748 he entered the court of Don Filippo di Borbone in Chambéry destined, by the treaty of Aachen, to later transfer his seat to the Duchy of Parma.
Upon his arrival in the city he initially organized the laboratory and a studio capable of responding the needs of the court, but only in 1753 the activity and the artistic program for the reconstruction of the Ducal Garden, commissioned by Prime Minister Du Tillot, take shape, commissioned to Alexandre Ennemond Petitot from Lyon, appointed as architect of the Royal Palaces and military engineer called to Parma in 1753. The partnership between the two artists promises great results both in the city and in the Reggia di Colorno where they collaborate. Returned to Parma, between 1754 and 1765 he sculpted the works in Apuan marble destined to the Ducal Garden, including: Bacchus, Arianna, Zefiro, Flora, Apollo, the series of the Great Vases and the Silenus and Egle group. In the first statues in particular, Boudard's style hints at that Praxitelean reform which manifests itself in Venus (1754), working on the classical model but transforming its internal spirit. Having become a citizen of Parma in 1765, only in 1768 did he obtain the position of first court statuary and the appointment of superintendent for the duke of sculpture and ornamentation.