Paul Rops Sleeping ca. He worked with lithography , wood engraving , etching , aquatint , mezzotint , soft-ground etching, burin engravings , heliogravure and other techniques producing hundreds of prints in his life.
His prints are remarkably diverse and span the full spectrum of the styles and subject matter that he explored throughout his life. By the end of the decade Rops had all but abandoned lithography. Rops founded the International Society of Etchers about or Although the society received praises from artists and royalty alike, financially he struggled to keep it going for more than two to three years. Fascinated by the processes, he was constantly experimenting with printmaking techniques throughout his career. Starting around the early s, Rops begin using soft-ground etching, a technique practiced by few artists of his day, often combining it with mezzotint, aquatint, dry point, and other techniques, sometimes adding hand-coloring to the plates.
He photo-mechanically heliogravure transferred many of his original drawings to intaglio plates, and often developed the images further in that medium with any number of techniques such as dry point, aquatint, soft-ground etching, etc. However, traditional soft-ground methods did not work well for his purposes, so in collaboration with his friend and colleague Armand Rassenfosse , they invented a process they called "Ropsenfosse".
Ropsenfosse used several different soft-ground formulas and was likely the first soft-ground method used to produce color prints with two or more plates. His etchings were popular and many of the progressive writers, poets, and publishers of late 19th-century literature sought out his talents for their publications. Frontispiece for The Supreme Vice by Peladan etching and aquatint Frontispiece for A Heart Lost by Peladan soft-ground etching Frontispiece for Chair [ Flesh ] by Verlaine, Parallelism ca. Parisian Masks no date heliogravure Carlos Museum, Emory University, Atlanta.
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Sentimental Initiation heliogravure, Michael C. Flemish Madness no date aquatint Japanese Salamander and Beetle no date aquatint 9. Separated or Simian Spring no date etching with aquatint 6. Celle qui fait 'Celle qui lit Musset ' heliogravure The Strike etching, drypoint Head of Zealander soft-ground etching Parable of the Sower no date heliogravure, drypoint The Kitchen of the Artists' Inn, in Anseremme no date etching As early as , when a special tribute edition of the literary journal La Plume No.
Subsequent critics, historians, as well as his admirers among the general public have consistently regarded these prints as among the best examples of his illustrative oeuvre. Art historian Robert L. Delevoy wrote "His etchings for Les Diabloiques by Barbey d'Aurevilly are regarded as some of the best illustrative work ever done. Les Sataniques The Satanic was a series of his own initiative, independent of his book illustrations and literary works.
Dating from about , there are a number of closely related drawings, watercolors, sketches, and other mixed media pieces, as well as prints in various states of development. He had hoped to do a large series and eventually publish them in the form of a book, but this never came to fruition.
The frontispiece of the cycle, Satan Sowing Tare , which appeared in several versions, was based on the Biblical Parable of the Tares which appears in Matthew This series ranks among the more familiar and discussed images of his work. There is nothing in the dozens of references below to suggest that Rops was actively involved or a believer in Satanism, and his use of this subject was only symbolic or metaphoric. Satan Sowing Tare etching, aquatint The Abduction heliogravure The Idol heliogravure The Sacrifice ca. Genesis from Les Sataniques ca. Satan Creating the Monsters from Les Sataniques no date soft-ground etching Each story is centered around a bored, bourgeois woman, usually involved in a crime of violent depravity or act of revenge.
The book was an instant success and quickly sold out. The uproar caught the attention of the Public Prosecutor, the book was banned, the author and publisher were charged with insulting public morality, and set to be put on trial.
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Rops did not illustrate the first edition. Laws granting the freedom of the press in France were passed on 29 July and a second edition of the book was planned by the publisher, Alphonse Lemerre , who thought Rops was ideally suited to illustrate the new edition. Rops provided Lemerre with designs for the illustrations in the form of drawings, but the actual production of the etchings is believed to have been delegated to others.
The first set of etchings is referred to as the "Lemerre format", or small boards [plates], and likely date from when the second edition of the book was published. However Delaporte, in his thesis, discuses a myriad of inconsistency involving the production and dates of the small etchings and suggest they could have appeared ca. He began a second set based on the original drawings using a heliogravure technique, which he then reworked by hand with aquatint, soft-ground varnish, drypoint, etc.
The heliogravure prints gave Rops a greater ability to exhibit subtleties and nuances of light and shadow in the dark, nocturnal images. The second, heliogravure set, is referred to as the large boards. Like the small boards, the history of the production and dates of the large boards involve many inconsistencies, contradictions, and other issues, but date from ca.
As early as , with the first publication ever devoted to Munch, comparisons have been made. Munch denied having been influenced by Rops's etching, and said his painting was a copy of another painting he had made in the mid s and "that this earlier version had been lost in a studio fire.
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Caricature of Barbey d'Aurevilly no date hand-colored lithograph The Sphinx ca. Prostitution and Madness Rule the World ca. County Museum of Art. The Crimson Curtain ca. The Greatest Love of Don Juan ca. Happiness in Crime ca. At a Dinner of Atheists ca.
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Beneath the Cards in a Game of Whist ca. The Vengeance of a Woman c. At a Dinner of Atheists , —86 etching He was the first Belgian cartoonist to produce text comics, a comic strip based on a recurring character, satirical, and erotic comics. Rops began publishing comics in student magazines including Le Crocodile and Le Diable au Salon while still in school in the s. With friends he co-founded a weekly artistic and literary satirical review The Uylenspiegel in , which he contributed to regularly until its demise However, ultimately this only served to further Rops notoriety.
Rops published significantly fewer comics as his career as an illustrator of books progressed but, he produced occasional comics, caricatures, even advertisements, throughout his life. Galerie d'Uylenspiegel, Eduoard Uylenspiegel, no. Jardin Zoologique Uylenspiegel, no.
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