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ROPS
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ROPS , F$LICIEN (1833–1898), Belgian painter, designer and engraver, was See also:born at See also:Namur, in See also:Belgium, on the 7th of See also:July 1833; he spent his childhood in that See also:town, and afterwards in See also:Brussels, where he composed in 1856, for his See also:friends at the university, the Almanach Crocodilien, his first piece of See also:work. He also brought out two Salons See also:Illustres, and collaborated on the See also:Crocodile, a See also:magazine produced by the students. The See also:humour shown in his contributions attracted the See also:attention of publishers, who offered him work. He designed, among other things, frontispieces for Poulet-Malassis, and afterwards for See also:Gay and See also:Douce. In 1859 he began to contribute to a satirical See also:journal in Brussels called Uylenspiegel, a sort of See also:Charivari. The issue, limited unfortunately to two years, included his finest litho-graphs. About 1862 he went to See also:Paris and worked at Jacque-mart's. He subsequently returned to Brussels, where he founded the See also:short-lived See also:International Society of Etchers. In 1865 he brought out his famous " Buveuse d'See also:Absinthe," which placed him in the foremost See also:rank of Belgian engravers; and in 1871 the " See also:Dame au See also:Pantin." After 1874 Rops resided in Paris. His See also:talent, which commanded attention by its novel methods of expression, and had been stimulated by travels in See also:Hungary, See also: From 188o to 1890 he devoted himself principally to illustrating books: See also:Les Rimes de joie, by Theo Hannon; Le See also:Vice supreme and Curieuse, by J. See also:Madan; and Les Diaboliques, by See also:Barbey d'Aurevilly; L'Amante du See also:Christ, by R. Darzens; and Zadig, by See also:Voltaire; and the poems of Stephane See also:Mallarme have frontispieces due to his fertile and powerful See also:imagination. Before this he had illustrated the Legendes Flamandes, by Ch. Decoster; Jeune See also:France, by Th. See also:Gautier; and brought out a See also:volume of Cent Croquis pour rejouir les Honnetes Gens. His last piece of work, an See also:advertisement of an See also:exhibition, was done in See also:November 1896. Rops died on the 23rd of See also:August 1898, at Essonnes, See also:Seine-et-See also:Oise, on the See also:estate he had See also:purchased, where he lived in See also:complete retirement with his See also:family. Scorning display, Rops almost always opposed any exhibition of his See also:works. However, he consented to join the See also:Art Society of the " XX.," formed at Brussels in 1884, as their revolutionary views were in See also:harmony with the See also:independence of his spirit. After his See also:death, in 1899, the Libre Esthetique, which in 1894 had succeeded the "XX.," arranged a retrospective exhibition, which included about fifty paintings and drawings by Rops. Rops was a See also:Chevalier of the See also:Legion of See also:Honour. He excelled in these three methods of See also:artistic expression; but his engraved work is the most important, .both as to mastery of technique and originality of ideas, though in all his talent was exceedingly versatile. Hardly any artist of the 19th See also:century equalled him in the use of the dry-point and soft See also:varnish. By his assured handling and admirable draughtsmanship, as well as the variety of his sometimes wildly fantastic conceptions, he made his See also:place among the See also:great artists of his See also:time. " Giving his figures a See also:character of See also:grace which never lapses into limpness," says his biographer, E. Ramiro, " he has analysed and perpetuated the human See also:form in all the elegance and development impressed on it by See also:modern See also:civilization." In 1896 La Plume (Paris) devoted a See also:special number to this artist, fully illustrated, by which the public were made aware how many of his works are unsuitable for display in the See also:drawing-See also:room or boudoir. E. Deman, the publisher at Brussels, brought out a volume in 1897 with the See also:title, Felicien Rops et son oeuvre—papers by various writers. We may also mention a study of Felicien Rops, by See also:Eugene Demolder (Paris, Princebourde, 1894), and another by the same writer in Trois Contemporains (E Deman, 1901); Les Ropsiaques, by See also:Pierre Gaume, brought out in See also:London, 1898; and the admirable See also:notice by T. K. See also:Huysmans in his volume called Certains. (0. Additional information and CommentsThere are no comments yet for this article.
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