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    Féeicien Rops

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    Féeicien Rops: Belgian Artist

    Introduction:

    Félicien Victor Joseph Rops (July 7, 1833 - August 23, 1898) became a Belgian artist related to the Parisian and Symbolism for Find Siecle, painter, illustrator, caricaturist a prolific and progressive engraver, specifically gravure etching and aquatint.

     Rop shocked the whole public during the end of the nineteenth century with his profane and explicitly sexual theme in his drawings and paintings. He was closely associated with literary figures including Stéphane Mallarmé, Charles Baudelaire, and Paul Verlaine; his work often fell to comparative ambiguities and got dismissed by critics. 

      He is best known today for his prints, although he also created oil paintings of landscapes, seascapes, and occasionally genre paintings. Rops is considered a pioneer of Belgian comics with drawings because of his power of illustrating the erotic and occult literature of the time.

    Career and Lifestyles:

    In June 1857, Rops married Charlotte Polet de Faveaux, the daughter of a wealthy magistrate and owner of the Thozée Castle (see external links below), in the countryside near Mettet, Belgium. In the first years in Thozée, Rops enjoyed the comfortable life of a landlord who was enthusiastic about painting and botany; in his letters, he spoke highly of his father-in-law. In 1862, he found a rowing club, the Royal Nautical Club of Sambre and Meuse. 

    Rops and his wife had a son, Paul, and a daughter, Julia, in 1858, who died in 1859 at the age of five. Rops resigned his leadership role at Uylenspiegel but continued to contribute cartoons and illustrations until 1862. Research printmaking and produce political lithographs, occasionally caricatures and vignettes for magazines, and covers and illustrations for books. 

    Their home became a meeting place for artists, writers, publishers, and friends, and there illustrate several books by De Coster, including Légendes Flamandes (1858), La Legend d'Uylenspiegell, 1867), and ContesBrabançons (1861). Rops was the Vice President for several years, and at that time Free Society of Fine Arts in Brussels was founded in 1868. 

      In the 1860s, Rops traveled extensively, dividing his time every year between the Château de Thozée, Namur, Brussels, and Paris; with increasing time in Paris and Namur with his wife and family throughout the decade at the center of the art and literary world and decreasing time in the Château de Thozée. 

      He studied engraving with Félix Bracquemond and Jules Ferdinand Jacquemart in Paris and became a stressed experimenter with engraving strategies. His friend Armand Rassenfosse advanced a brand new approach of smooth earning called "Ropsenfosse" in 1862.

      His work as a lithographer ceased in 1865, and although he continued to paint in oil, etching became his main medium. He found the short-lived International Society of Engravers (1869-1871) and made 34 front pages for books published between 1864 and 1870.

    Painting and drawing:

    Throughout his career, Rope's landscapes oil paintings, often small canvases, which were created en plein airvary in theme and style, included still lives, street scenes such as the entrance to the ball, symbolist death at the ball, and many landscapes. 

      Examples such as Snow in Thozée was painted near their hometown of Namur in the Walloon region of southern Belgium, and the Rocks of the Grands Malades, influenced by Jean Baptiste Camille CorotGustave Courbet, and the Barbizon School, are in many of his landscapes.

    Conclusion:

    For Félicien Victor Joseph Rops, dwelling in Paris and displaying with Les XX, Rops had enough possibility to fulfill artists and soak up the paintings of the faculties and actions of the time, and factors of impressionism are obtrusive in The Beach in Heist, painted at the Belgian coast. 

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