{"id":1659,"date":"2007-03-24T01:19:08","date_gmt":"2007-03-24T01:19:08","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=1659"},"modified":"2008-07-24T12:27:33","modified_gmt":"2008-07-24T11:27:33","slug":"the-art-of-felicien-rops-1833-1898","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/03\/24\/the-art-of-felicien-rops-1833-1898\/","title":{"rendered":"The art of F\u00e9licien Rops, 1833\u20131898"},"content":{"rendered":"

\"rops1.jpg\"<\/a><\/p>\n

Pornokrates (1878).<\/em><\/p>\n

After Mr Peacay’s comments<\/a> regarding F\u00e9licien Rops I thought it time to devote a post to this impious artist.<\/p>\n

Rops, a Belgian working in Paris, is curious even by the standards of the disparate group who comprised the Symbolists and with whom he had some connections. Whereas many artists of the time might hint at a fashionable blasphemy or Satanism, Rops’ dealings with these subjects were unequivocal, as was the outright pornographic tone of many of his drawings. This can make much of his work seem modern in a way few artists of that period achieve today, and it’s a good bet that many Christians (especially those of the puritan American variety) would still find his pictures offensive. These weren’t the only works that Rops produced, there were plenty of landscapes and society portraits, but it’s these that he’s remembered for. Once again, posterity favours the forthright and the unique over uniformity and compromise.<\/p>\n

\u2022 The F\u00e9licien Rops Museum<\/a>
\n\u2022 Les Diaboliques<\/em> by Barbey d’Aurevilly (1874): 8 illustrations<\/a>
\n\u2022 Gallery of pornographic drawings at Arterotismo<\/a><\/p>\n

<\/p>\n

\"rops2.jpg\"<\/a><\/p>\n

The Temptation of St Anthony (1878).<\/em><\/p>\n

\"rops3.jpg\"<\/a><\/p>\n

Sentimental Initiation (1887).<\/em><\/p>\n

\"rops4.jpg\"<\/a><\/p>\n

Calvary (1882).<\/em><\/p>\n

\"rops5.jpg\"<\/p>\n

The Sacrifice (1882).<\/em><\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The etching and engraving archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 Fantazius Mallare and the Kingdom of Evil<\/a>
\n\u2022 Angels 4: Fallen angels<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Pornokrates (1878). After Mr Peacay’s comments regarding F\u00e9licien Rops I thought it time to devote a post to this impious artist. Rops, a Belgian working in Paris, is curious even by the standards of the disparate group who comprised the Symbolists and with whom he had some connections. Whereas many artists of the time might … Continue reading “The art of F\u00e9licien Rops, 1833\u20131898”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,44,31,45],"tags":[1202],"class_list":["post-1659","post","type-post","status-publish","format-standard","hentry","category-art","category-painting","category-religion","category-symbolists","tag-felicien-rops"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-qL","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/1659","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=1659"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/1659\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=1659"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=1659"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=1659"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}