فيليسيان روپس

فيليسيان روپس
Félicien Rops
Félicien Rops.jpg
تفاصيل من لوحة أعضاء
الجمعية الحرة للفنون الجميلة
رسم إدمون لامبريش
وُلِدَ(1833-07-07)7 يوليو 1833
نامور، بلجيكا
توفي23 أغسطس 1898(1898-08-23) (aged 65)
إسون، فرنسا
الجنسيةبلجيكي
اللقبالطباعة الفنية، النقش الغائر، التخطيط، الرسم
العمل البارز
Pornocrates Les Sataniques Les Diaboliques
الحركةالرمزية، حركة الخلاعة، نهاية القرن

فيليسيان ڤيكتور جوزيف روپس (و. 7 يوليو 1833 - ت. 23 أغسطس 1898)، هو فنان بلجيكي ارتبط بالرمزية وحركة نهاية القرن الپاريسية. وهو رسام، خطاط، رسام كاريكاتير وطباع غزير الإنتاج ومبتكر وخاصة في النقش الغائر (التنميش والأكواتنت). على الرغم من أنه لم يكن معروفاً جيداً للعامة، إلا أن روپس كان يحظى باحترام كبير من قبل أقرانه وتبعه الناشرون والمؤلفون والشعراء في عصره واحتفوا به كرسام، وقد قام بعمل الصفحات الأولى والرسوم التوضيحية لجول باربي دورڤيلي، شارل بودلير، شارل ده كوستر، تيوفيل گوتييه، جوريس-كارل ويسمانس، ستيفان مالارميه، جوسفين پيلادان، پول ڤرلان، ڤولتير، وكثيرين غيرهم. يشتهراليوم بمطبوعاته ورسوماته التي توضح الأدب المثير والغامض في تلك الفترة، على الرغم من أنه أنتج أيضاً لوحات زيتية بما في ذلك المناظر الطبيعية والمناظر البحرية ولوحات الأنواع العرضية. يُعرف روپس بكونه رائداً في القصص المصورة البلجيكية.[1][2][3][4]

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سيرته

علاقته بشارل بودلير (1862–1867)

Baudelaire wrote the following tribute to Rops:[4]

Use all your eloquence..../ To say how much I like / That bizarre Mr. Rops / Who may not be a Rome First Prize / But whose talent is as great / As the pyramids of Cheops.

A Self-Portrait in crayon and ink from the 1860s (detail)

Rops created the frontispiece for Baudelaire's Les Épaves (The Wreckage) and a selection of poems from Les Fleurs du mal (The Flowers of Evil) that had been censored in France, and were therefore published in Belgium. Rops first met Baudelaire's publisher Auguste Poulet-Malassis in 1862 and was later introduced to Charles Baudelaire towards the end of the poet's life. A friendship developed and Baudelaire visited the Rops family at Thozée Castle on many occasions and they traveled together on at least one occasion. In a letter (25 August 1886) discussing Baudelaire's writing, Rops wrote: "I lived with Baudelaire for two years. and often served him as a secretary, I never once saw him consult a dictionary. He didn't have any, and didn't want to have any...saying 'A man who looks up a word in a dictionary is like a conscript who, upon receiving the order to fire, looks for a cartridge in his pouch.'"[5] In a letter to Edouard Manet (11 May 1865) Baudelaire wrote, "Rops is the only true artist (in the sense in which I, and perhaps I alone, understand the word artist), that I have found in Belgium."[6] By 1866 Baudelaire and Poulet-Malassis were both in Belgium, in self-imposed exile evading creditors. Baudelaire stated that Rops and Poulet-Malassis were the only persons who "lightened [his] sadness in Belgium".[7]

أعماله اللاحقة في پاريس (1871–1898)

J-K. Huysmans identified "Mlle. Duluc" as the model in this etching.

الفن

فن فيليسيان روپس

Pornocrates (1878) watercolor, gouache, and pastel (75 x 48 cm.) Musée Félicien Rops, Namur, Belgium


According to H. R. Blakeley, "scholarship about Rops disproportionately fixates on the erotic aspects of his art, reductively classifying him as perversely misogynistic instead of investigating the complexities of his relationships with and attitudes about women."[8]


الرسم والتخطيط

المعرض 1: لوحات ومخططات

  • Entrance to the Ball (ca. 1858) Oil on canvas, mounted on board (29.5 x 21 cm) Musée Félicien Rops, Namur, Belgium

    Entrance to the Ball (ca. 1858) Oil on canvas, mounted on board (29.5 x 21 cm) Musée Félicien Rops, Namur, Belgium

  • Death at the Ball (ca. 1865-1875) oil on canvas (150 x 85 cm) Kröller-Müller Museum, Netherlands

    Death at the Ball (ca. 1865-1875) oil on canvas (150 x 85 cm) Kröller-Müller Museum, Netherlands

  • The Drunken Dandy (no date) mixed media on paper (39 x 48 cm) Musée Félicien Rops, Namur

    The Drunken Dandy (no date) mixed media on paper (39 x 48 cm) Musée Félicien Rops, Namur

  • Sailors Den (1875) watercolor, pastel, gouache (60.5 x 46.5 cm) Musée Félicien Rops, Namur

    Sailors Den (1875) watercolor, pastel, gouache (60.5 x 46.5 cm) Musée Félicien Rops, Namur

  • The Human Parody (1878-1881) watercolor, pastel, chalk (22.5 x 15 cm)

    The Human Parody (1878-1881) watercolor, pastel, chalk (22.5 x 15 cm)

  • The Librarian, (1878-1881) pencil, watercolor, gouache (22 x 14.5 cm ) Namur

    The Librarian, (1878-1881) pencil, watercolor, gouache (22 x 14.5 cm ) Namur

  • L'Amour Mouché, Venus and Cupid-Love blowing his nose (1878-1881) mixed media (22 x 15) Musée Félicien Rops, Namur

    L'Amour Mouché, Venus and Cupid-Love blowing his nose (1878-1881) mixed media (22 x 15) Musée Félicien Rops, Namur

  • Cherub's Song (1878-1881) watercolor, gouache, pastel, chalk (22 x 15 cm) Musée Félicien Rops, Namur

    Cherub's Song (1878-1881) watercolor, gouache, pastel, chalk (22 x 15 cm) Musée Félicien Rops, Namur

  • After Midnight, Returning makes you appreciate absence (no date) mixed media (22 x 15 cm) Private collection

    After Midnight, Returning makes you appreciate absence (no date) mixed media (22 x 15 cm) Private collection

  • Prehistoric Coupling (1887) color pencil, watercolor, gouache (30.5 x 23.6 cm.) Namur

    Prehistoric Coupling (1887) color pencil, watercolor, gouache (30.5 x 23.6 cm.) Namur

  • Temptation of Saint Anthony (1878) mixed media (74 x 54) Royal Library of Belgium, Brussels

    Temptation of Saint Anthony (1878) mixed media (74 x 54) Royal Library of Belgium, Brussels

  • Untitled (no date) watercolor, colored pencil (22.9 x 28.6 cm) Metropolitan Museum of Art, New York

    Untitled (no date) watercolor, colored pencil (22.9 x 28.6 cm) Metropolitan Museum of Art, New York

  • The Lady with the Puppet (ca. 1883-1885) mixed media (39.4 x 27.4 cm) Musée Félicien Rops, Namur

    The Lady with the Puppet (ca. 1883-1885) mixed media (39.4 x 27.4 cm) Musée Félicien Rops, Namur

  • Paul Rops Sleeping (ca. 1872-75), oil on canvas (size unknown) Felicien Rops Fund, Namur, Belgium

    Paul Rops Sleeping (ca. 1872-75), oil on canvas (size unknown) Felicien Rops Fund, Namur, Belgium

  • Pears and Apple on a Plate (1882) oil on canvas (22,5 x 32 cm) Friends of the Musée Félicien Rops, Namur

    Pears and Apple on a Plate (1882) oil on canvas (22,5 x 32 cm) Friends of the Musée Félicien Rops, Namur

  • The Rocks of the Grands Malades (1876) oil on canvas, Musée des Beaux Arts Ixelles

    The Rocks of the Grands Malades (1876) oil on canvas, Musée des Beaux Arts Ixelles

  • Snow in Thozée (no date) oil on canvas, Belfius Bank & Insurance, Brussels

    Snow in Thozée (no date) oil on canvas, Belfius Bank & Insurance, Brussels

  • The Pond of Bambois (1865) oil on panel (18.5 × 24 cm) Charleroi Museum of Fine Arts

    The Pond of Bambois (1865) oil on panel (18.5 × 24 cm) Charleroi Museum of Fine Arts

  • More from Bambois (no date) oil on canvas, Musée Félicien Rops, Namur, Belgium

    More from Bambois (no date) oil on canvas, Musée Félicien Rops, Namur, Belgium

  • The Beach in Heist (1886) oil on canvas, Musée Félicien Rops Namen, Belgium

    The Beach in Heist (1886) oil on canvas, Musée Félicien Rops Namen, Belgium

المعرض 2: مطبوعات ورسومات كتب

  • Frontispiece for Les Épaves by Baudelaire (1868) etching (16 x 13,3 cm) Musée Félicien Rops, Namur

    Frontispiece for Les Épaves by Baudelaire (1868) etching (16 x 13,3 cm) Musée Félicien Rops, Namur

  • Frontispiece for The Supreme Vice by Peladan (1884) etching and aquatint (11.75 x 7.78 cm) Los Angeles County Museum of Art

    Frontispiece for The Supreme Vice by Peladan (1884) etching and aquatint (11.75 x 7.78 cm) Los Angeles County Museum of Art

  • Frontispiece for A Heart Lost by Peladan (1888) soft-ground etching (16.67 x 10.8 cm) Los Angeles County Museum

    Frontispiece for A Heart Lost by Peladan (1888) soft-ground etching (16.67 x 10.8 cm) Los Angeles County Museum

  • Frontispiece for Poésies by Mallarmé, The Lyre (1895) etching & drypoint (23 x 16 cm) L.A. Co. Museum

    Frontispiece for Poésies by Mallarmé, The Lyre (1895) etching & drypoint (23 x 16 cm) L.A. Co. Museum

  • Frontispiece for Chair [Flesh] by Verlaine, Parallelism (ca. 1896) heliogravure (33.5 × 21.2 mm) The Art Institute of Chicago

    Frontispiece for Chair [Flesh] by Verlaine, Parallelism (ca. 1896) heliogravure (33.5 × 21.2 mm) The Art Institute of Chicago

  • Parisian Masks (no date) heliogravure (29.2 x 17.2 cm) Michael C. Carlos Museum, Emory University, Atlanta

    Parisian Masks (no date) heliogravure (29.2 x 17.2 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Holocauste, Naturalia Non Sunt Turpia (What is natural is not dirty) (1895) heliogravure, drypoint (21.6 x 15.2 cm) Michael C. Carlos Museum, Emory University, Atlanta

    Holocauste, Naturalia Non Sunt Turpia (What is natural is not dirty) (1895) heliogravure, drypoint (21.6 x 15.2 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Sentimental Initiation (1887) heliogravure, Michael C. Carlos Museum, Emory University, Atlanta

    Sentimental Initiation (1887) heliogravure, Michael C. Carlos Museum, Emory University, Atlanta

  • The Dance of Death (ca. 1865) etching (55 x 37 cm)

    The Dance of Death (ca. 1865) etching (55 x 37 cm)

  • Flemish Madness (no date) aquatint (12.07 x 9.53 cm) Los Angeles County Museum of Art

    Flemish Madness (no date) aquatint (12.07 x 9.53 cm) Los Angeles County Museum of Art

  • Japanese Salamander and Beetle (no date) aquatint (9.21 x 6.67 cm) Los Angeles County Museum

    Japanese Salamander and Beetle (no date) aquatint (9.21 x 6.67 cm) Los Angeles County Museum

  • The Cat [Amica Non Serva, Friend Not Servant] ( no date) etching (8.26 x 5.87 cm) Los Angeles County Museum of Art

    The Cat [Amica Non Serva, Friend Not Servant] ( no date) etching (8.26 x 5.87 cm) Los Angeles County Museum of Art

  • Separated or Simian Spring (no date) etching with aquatint (6.51 x 9.68 cm) Los Angeles County Museum of Art

    Separated or Simian Spring (no date) etching with aquatint (6.51 x 9.68 cm) Los Angeles County Museum of Art

  • The Absinthe Drinker (1853–1898) heliogravure (335 × 225 mm) Art Institute of Chicago

    The Absinthe Drinker (1853–1898) heliogravure (335 × 225 mm) Art Institute of Chicago

  • Mam'zelle Gavroche and Erotic Poetry (1879) heliogravure (24 x 18 cm) Michael C. Carlos Museum, Emory University, Atlanta

    Mam'zelle Gavroche and Erotic Poetry (1879) heliogravure (24 x 18 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Celle qui fait 'Celle qui lit Musset' (1879) heliogravure (24.61 x 15.24 cm) Los Angeles County Museum of Art

    Celle qui fait 'Celle qui lit Musset' (1879) heliogravure (24.61 x 15.24 cm) Los Angeles County Museum of Art

  • A Shaker Pianist (1888) etching (16.99 x 11.75 cm) Los Angeles County Museum of Art

    A Shaker Pianist (1888) etching (16.99 x 11.75 cm) Los Angeles County Museum of Art

  • The Strike (1876) etching, drypoint (19.8 x 15.2 cm) Michael C. Carlos Museum, Emory University, Atlanta

    The Strike (1876) etching, drypoint (19.8 x 15.2 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Head of Zealander (1886) soft-ground etching (19.69 x 23.65 cm) Los Angeles County Museum of Art

    Head of Zealander (1886) soft-ground etching (19.69 x 23.65 cm) Los Angeles County Museum of Art

  • Old Kate (1895) heliogravure & roulette (25.9 x 19.5 cm) Michael C. Carlos Museum, Emory University, Atlanta

    Old Kate (1895) heliogravure & roulette (25.9 x 19.5 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Funeral in the Walloon Country (1863) lithograph, Musée Félicien Rops, Namen, Belgium

    Funeral in the Walloon Country (1863) lithograph, Musée Félicien Rops, Namen, Belgium

  • Jean Brouette (1875) etching (19.84 x 12.86 cm) Los Angeles County Museum of Art

    Jean Brouette (1875) etching (19.84 x 12.86 cm) Los Angeles County Museum of Art

  • Parable of the Sower (no date) heliogravure, drypoint (16.3 x 11.4 cm) Michael C. Carlos Museum, Emory University, Atlanta

    Parable of the Sower (no date) heliogravure, drypoint (16.3 x 11.4 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • The Kitchen of the Artists' Inn, in Anseremme (no date) etching (19.05 x 13.81 cm) Los Angeles County Museum of Art

    The Kitchen of the Artists' Inn, in Anseremme (no date) etching (19.05 x 13.81 cm) Los Angeles County Museum of Art


المعرض 3: الرسوم الشيطانية

  • Satan Sowing Tares (1882) chromolithograph (30.4 x 21 cm) Musèe Felicien Rops

    Satan Sowing Tares (1882) chromolithograph (30.4 x 21 cm) Musèe Felicien Rops

  • Satan Sowing Tare (1882) etching, aquatint (27.7 x 20.9 cm) National Gallery of Art, Washington, DC

    Satan Sowing Tare (1882) etching, aquatint (27.7 x 20.9 cm) National Gallery of Art, Washington, DC

  • The Abduction (1882) heliogravure ( 27.8 x 20 cm) Michael C. Carlos Museum, Emory University, Atlanta

    The Abduction (1882) heliogravure ( 27.8 x 20 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Le Calvaire (1882) heliogravure (ca. 27 x 20 cm) Museum De Reede, Antwerp

    Le Calvaire (1882) heliogravure (ca. 27 x 20 cm) Museum De Reede, Antwerp

  • The Idol (1882) heliogravure (27.6 x 20 cm) Michael C. Carlos Museum, Emory University, Atlanta

    The Idol (1882) heliogravure (27.6 x 20 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • The Sacrifice (ca. 1882) soft ground etching, reproduced in heliogravure (27.6 x 20.3 cm) Metropolitan Museum of Art, New York

    The Sacrifice (ca. 1882) soft ground etching, reproduced in heliogravure (27.6 x 20.3 cm) Metropolitan Museum of Art, New York

  • Satan Throwing to the World the Food She Deserves (no date) soft-ground etching (15.88 × 31.75 cm) Los Angeles County Museum of Art

    Satan Throwing to the World the Food She Deserves (no date) soft-ground etching (15.88 × 31.75 cm) Los Angeles County Museum of Art

  • Genesis from Les Sataniques (ca. 1882) soft-ground etching (18.89 x 25.56 cm) Los Angeles County Museum of Art

    Genesis from Les Sataniques (ca. 1882) soft-ground etching (18.89 x 25.56 cm) Los Angeles County Museum of Art

  • Satan Creating the Monsters from Les Sataniques (no date) soft-ground etching (13.1 x 19.6 cm) Los Angeles County Museum of Art

    Satan Creating the Monsters from Les Sataniques (no date) soft-ground etching (13.1 x 19.6 cm) Los Angeles County Museum of Art


المعرض 4:الرسوم الغريبة

  • Caricature of Barbey d'Aurevilly (no date) hand-colored lithograph (27.31 x 22.86 cm) Los Angeles County Museum of Art

    Caricature of Barbey d'Aurevilly (no date) hand-colored lithograph (27.31 x 22.86 cm) Los Angeles County Museum of Art

  • The Sphinx, illustration for Les Diaboliques by Jules Barbey d'Aurevilly (1879) pencil & watercolor (25 x 18 cm) Brussels

    The Sphinx, illustration for Les Diaboliques by Jules Barbey d'Aurevilly (1879) pencil & watercolor (25 x 18 cm) Brussels

  • The Sphinx (ca.1887-1893) heliogravure, soft-ground etching (11.75 x 7.94 cm) Los Angeles County Museum of Art

    The Sphinx (ca.1887-1893) heliogravure, soft-ground etching (11.75 x 7.94 cm) Los Angeles County Museum of Art

  • Prostitution and Madness Rule the World (ca.1887-1893) heliogravure, soft-ground etching (24 x 16 cm) L.A. County Museum of Art

    Prostitution and Madness Rule the World (ca.1887-1893) heliogravure, soft-ground etching (24 x 16 cm) L.A. County Museum of Art

  • The Crimson Curtain (ca. 1887-93) heliogravure, aquatint and soft varnish (23.7 × 16.5 cm) Art Institute of Chicago

    The Crimson Curtain (ca. 1887-93) heliogravure, aquatint and soft varnish (23.7 × 16.5 cm) Art Institute of Chicago

  • The Greatest Love of Don Juan (ca. 1887-93) heliogravure, etching, drypoint, aquatinte (23.5 x 16.2 cm) Royal Library of Belgium

    The Greatest Love of Don Juan (ca. 1887-93) heliogravure, etching, drypoint, aquatinte (23.5 x 16.2 cm) Royal Library of Belgium

  • Happiness in Crime (ca. 1887-93) heliogravure, etching, dry point, aquatint (23.8 x 16.5 cm) Royal Library of Belgium

    Happiness in Crime (ca. 1887-93) heliogravure, etching, dry point, aquatint (23.8 x 16.5 cm) Royal Library of Belgium

  • At a Dinner of Atheists (ca. 1887-93) heliogravure, aquatint, soft-ground varnish (24.8 x 16.6 cm) Royal Library of Belgium

    At a Dinner of Atheists (ca. 1887-93) heliogravure, aquatint, soft-ground varnish (24.8 x 16.6 cm) Royal Library of Belgium

  • Beneath the Cards in a Game of Whist (ca. 1887-93) heliogravure (24.2 x 16.3 cm) Los Angeles County Museum of Art

    Beneath the Cards in a Game of Whist (ca. 1887-93) heliogravure (24.2 x 16.3 cm) Los Angeles County Museum of Art

  • The Vengeance of a Woman (c. 1882–1886) etching (12.38 x 9.05 cm) Los Angeles County Museum of Art

    The Vengeance of a Woman (c. 1882–1886) etching (12.38 x 9.05 cm) Los Angeles County Museum of Art

  • Woman & Madness Rule the World (ca. 1887-93) heliogravure (24.2 x 16.3 cm) Los Angeles County Museum of Art

    Woman & Madness Rule the World (ca. 1887-93) heliogravure (24.2 x 16.3 cm) Los Angeles County Museum of Art

  • Happiness in Crime (1882) etching (12.38 x 9.05 cm) Los Angeles County Museum of Art

    Happiness in Crime (1882) etching (12.38 x 9.05 cm) Los Angeles County Museum of Art

  • At a Dinner of Atheists, (1882–86) etching (12.38 x 8.73 cm) Los Angeles County Museum of Art

    At a Dinner of Atheists, (1882–86) etching (12.38 x 8.73 cm) Los Angeles County Museum of Art

  • Beneath the Cards in a Game of Whist (ca. 1882-1886) etching (12.38 x 9.05 cm) Los Angeles County Museum of Art

    Beneath the Cards in a Game of Whist (ca. 1882-1886) etching (12.38 x 9.05 cm) Los Angeles County Museum of Art

المعرض 5: الكرتون والكريكاتير

  • The White Slave: The Casinos (Uylenspiegel, No. 11, 13 Apr. 1856) lithograph (30.16 x 22.7 cm) Los Angeles County Museum of Art

    The White Slave: The Casinos (Uylenspiegel, No. 11, 13 Apr. 1856) lithograph (30.16 x 22.7 cm) Los Angeles County Museum of Art

  • Galerie d'Uylenspiegel, Eduoard (Uylenspiegel, no. 5, 2 March 1856) lithograph (22.54 x 16.03 cm) Los Angeles County Museum of Art

    Galerie d'Uylenspiegel, Eduoard (Uylenspiegel, no. 5, 2 March 1856) lithograph (22.54 x 16.03 cm) Los Angeles County Museum of Art

  • Jardin Zoologique (Uylenspiegel, no. 20, 15 June 1856) lithograph (20.32 x 17.15 cm) Los Angeles County Museum of Art

    Jardin Zoologique (Uylenspiegel, no. 20, 15 June 1856) lithograph (20.32 x 17.15 cm) Los Angeles County Museum of Art

  • Jardin Zoologique (Uylenspiegel, no. 28, 9 August 1857) lithograph) (28.58 x 20.64 cm) Los Angeles County Museum of Art

    Jardin Zoologique (Uylenspiegel, no. 28, 9 August 1857) lithograph) (28.58 x 20.64 cm) Los Angeles County Museum of Art

  • Louis Defré (aka Maurice Voituron & Joseph Boniface), burgomaster of Uccle (1858) lithograph (28.58 x 19.53 cm) L.A. County Museum.

    Louis Defré (aka Maurice Voituron & Joseph Boniface), burgomaster of Uccle (1858) lithograph (28.58 x 19.53 cm) L.A. County Museum.

  • Médaille de Waterloo (1858) lithograph (58.2 x 43.6 cm) Michael C. Carlos Museum, Emory University, Atlanta

    Médaille de Waterloo (1858) lithograph (58.2 x 43.6 cm) Michael C. Carlos Museum, Emory University, Atlanta

  • Political Comedy (1859) lithograph (23.65 x 18.89 cm) Los Angeles County Museum of Art of Art

    Political Comedy (1859) lithograph (23.65 x 18.89 cm) Los Angeles County Museum of Art of Art

  • Constitutional Chronicles (no date) lithograph (23.65 x 20 cm) Los Angeles County Museum of Art

    Constitutional Chronicles (no date) lithograph (23.65 x 20 cm) Los Angeles County Museum of Art

  • The Last Incarnation of Vautrin (Uylenspiegel, No. 39, 2 Nov. 1862) lithograph (29.53 x 22.07 cm) Los Angeles County Museum of Art

    The Last Incarnation of Vautrin (Uylenspiegel, No. 39, 2 Nov. 1862) lithograph (29.53 x 22.07 cm) Los Angeles County Museum of Art

  • Order Reigns in Warsaw (1863) lithograph (36.4 x 29.7)

    Order Reigns in Warsaw (1863) lithograph (36.4 x 29.7)

  • The Right to Rest, The Right to Work (ca. 1868) etching (ca. 7.94 x 10.6 cm) Los Angeles County Museum of Art

    The Right to Rest, The Right to Work (ca. 1868) etching (ca. 7.94 x 10.6 cm) Los Angeles County Museum of Art

  • Misanthropie! (1872) etching on Japan paper (19.37 x 15.08 cm) Los Angeles County Museum of Art

    Misanthropie! (1872) etching on Japan paper (19.37 x 15.08 cm) Los Angeles County Museum of Art

  • Parisian Life (1876) wood engraving (34.7 x 27.15 cm) Los Angeles County Museum of Art

    Parisian Life (1876) wood engraving (34.7 x 27.15 cm) Los Angeles County Museum of Art

  • Duluc Sisters, Dresses (no date) etching (7.62 x 5.56 cm) Los Angeles County Museum of Art I

    Duluc Sisters, Dresses (no date) etching (7.62 x 5.56 cm) Los Angeles County Museum of Art I

المصادر

  1. ^ Robert L. Delevoy (1978) Symbolists and Symbolism. Skira/Rizzoli International Publications, Inc., New York, 247 pp.
  2. ^ Jean Cassou (1979) The Concise Encyclopedia of Symbolism. Chartwell Books, Inc., Secaucus, New Jersey, 292 pp.
  3. ^ Lambiek Comiclopedia: Félicien Rops. Entry by Kjell Knudde. https://www.lambiek.net/artists/r/rops_felicien.htm
  4. ^ أ ب Patrick Bade (2003) Félicien Rops. Parkstone Press Ltd, New York, 95 pp.
  5. ^ Claude Pichois (1989) Baudelaire. Hamish Hamilton Ltd. (The Penguin Group, London ). ISBN 0241 124581
  6. ^ Lois Boe Hyslop and Francis E. Hyslop, Jr. (1957) Baudelaire: A Self-Portrait. Oxford University Press, London.
  7. ^ Félicien Rops, Baudelaire and skeleton passions. British Library, European Studies Blog, 27 October 2014. Accessed 12 September 2019 https://blogs.bl.uk/european/2014/10/f%C3%A9licien-rops-baudelaire-and-skeleton-passions.html
  8. ^ خطأ استشهاد: وسم <ref> غير صحيح؛ لا نص تم توفيره للمراجع المسماة Blakeley (2015)


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قراءات إضافية

  • P. & V. Berko, "Dictionary of Belgian painters born between 1750 & 1875", Knokke 1981, p. 565–566.
  • P. & V. Berko, "19th Century European Virtuoso Painters", Knokke 2011, p. 513, illustrations p. 145.

وصلات خارجية


[[تصنيف:مواليد 1833]

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