Félicien Rops
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"My Pornocratie is complete. This drawing delights me.". --Letter from Rops to Henri Liesse, , published in Etudes sur quelques artistes originaux, Felicien Rops, l'homme et l'artiste () by Camille Lemonnier "The triumphant chorus of Rops's admirers comprises the most critical names in France and Italy: Barbey d'Aurevilly, J.K. Huysmans, Pradelle, Joséphin Péladan--once the _Sâr_ of Babylonian fame--Eugène Demolder, Emile Verhaeren, the Belgian poet; Camille Lemonnier, Champsaur, Arsène Alexandre, Fromentin, Vittorio Pica, De Hérédia, Mallarmé, Octave Uzanne, Octave Mirbeau, the biographer Ramiro and Charles Baudelaire. The last first recognised him, though he never finished the projected study of him as man and artist. In the newly published letters () of Baudelaire there is one addressed to Rops, who saw much of the unhappy poet during his disastrous sojourn in Brussels. It was the author of Les Fleurs du Mal who made the clever little verse about "Ce tant bizarre Monsieur Rops Qui n'est pas un grand prix de Rome, mais dont le talent est haut, comme la pyr SearchThis week&#;s Symbolist artist is the notorious Félicien Rops (–), who shocked the public during the last couple of decades of the nineteenth century with his irreverent and often explicitly sexual drawings, prints and paintings. Although closely associated with literary figures including Charles Baudelaire, Stéphane Mallarmé and Paul Verlaine, his work has slipped into relative obscurity, and critics have often dismissed it. Félicien Victor Joseph Rops was born in Namur, a Walloon city in the Ardennes in Belgium. He came from an affluent family, and in went to the University of Brussels to read law. A couple of years later he seems to have transferred his attention to the Academy of Saint Luke, where he studied drawing and started living a more bohemian lifestyle, alongside the likes of Constantin Meunier. He also seems to have learned printmaking at this time, and in co-founded a satirical weekly review in which his lithographs were published. Shortly after his marriage, Rops painted Entry to the Ball (c ), which surprisingly is in oils, in a sketchy style reminiscent of Honoré Daumier. It shows a destitute young man in tattered clothing hanging around the ent Felician Joseph Victor Rops was born in Namur, Belgium on July 7, , the son of a textile manufacturer. At age 20 Felician moved to Brussels, where he attended the Académie de Saint-Luc and began creating satirical lithographs which were published in the student magazine Le Crocodile and he became locally famous as a caricaturist. Rops married in and had two children, one of which died in childhood. Rops produced a number of etchings as illustrations for childrens books by C. de Coster. In he went to Paris where he met the etchers Felix Braquemond and Jules Jacquemart. His activity as a lithographer ceased about , and he became a restless experimenter with etching techniques. Rops met Charles Baudelaire towards the end of the poet's life in , and Baudelaire left an impression upon him that lasted until the end of his days. Rops created the frontispiece for Baudelaire's Les Épaves, a selection of poems from Les Fleurs du mal that had been censored in France, and which therefore were published in association with Baudelaire and with the art he represented won his work the admiration of many other writers, including Théophile Gautier, Alfred d THE ART BOGFélicien Rops, born on July 7, , in Namur, Belgium, emerged as a prominent figure in the realm of Symbolist art during the 19th century. His life and work were characterized by a blend of artistic innovation, provocative themes, and a commitment to pushing the boundaries of societal norms. Rops&#; contributions as a painter, etcher, and illustrator earned him a unique place in the avant-garde movements of his time. Growing up in a bourgeois family, Rops initially pursued legal studies but soon found his true calling in the world of art. His move to Brussels marked the beginning of his artistic journey, where he immersed himself in the vibrant cultural scene of the city. Rops&#; early works displayed influences of Realism and Romanticism, but it was his association with the Symbolist movement that would define his artistic legacy. Rops&#; artistic endeavors were not confined to a single medium. He excelled in printmaking, particularly etching, where his technical prowess and innovative use of the medium garnered widespread acclaim. His etchings often explored themes of sensuality, the macabre, and societal critique. 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