Puget travelled in Italy as a young man (1640–43), when he was employed by a muralist, Pietro da Cortona, to work on the ceiling decorations of the Barberini Palace in Rome and the Pitti Palace in Florence. Between 1643 and 1656 he was active in Marseille and Toulon chiefly as a painter, but he also carved colossal figureheads for men-of-war. An important sculpture commission in 1656 was for the doorway of the Hôtel de Ville, Toulon; his caryatid figures there, although in the tradition of Roman Baroque, show a strain and an anguish that are similar to the Mannerist works of Michelangelo. Such feelings are passionately expressed in works like the “Milo of Crotona” (c. 1671–84), in which the athlete Milo, whose hand is caught in a tree stump, is portrayed under attack by a lion.

In 1659 Puget went to Paris, where he attracted the attention of Louis XIV's minister Fouquet. The latter fell from power in 1661 while Puget was in Italy selecting marble for the Hercules commissioned by him (now the “Hercule gaulois” in the Louvre). Puget remained in Italy for several years, establishing a considerable reputation as a sculptor in Genoa. A “St. Sebastian” in Sta. Maria di Carignano is among his best works there.

After 1669 Puget's life was spent mainly in Toulon and Marseille, where he was engaged in architectural work and the decoration of ships as well as sculpture. His difficult and somewhat arrogant temperament made him unacceptable to Louis XIV's powerful minister Colbert, and it was only late in life that he achieved some degree of court patronage. His “Milo of Crotona” was taken to Versailles in 1683, and the “Perseus and Andromeda” was well received there in 1684. But Puget was soon the victim of intrigues by his rivals, and his success at court was short-lived. His fine low relief of “Alexander and Diogenes” (c. 1671–93) never reached Versailles, other works planned for Versailles were either refused or frustrated, and Puget became embittered by these failures.