فيليسيان روپس

فيليسيان روپس
Félicien Rops
فيليسيان روپس; Félicien Rops
	تفاصيل من لوحة أعضاء ; الجمعية الحرة للفنون الجميلة; رسم إدمون لامبريش
وُلِدَ	7 يوليو 1833; نامور، بلجيكا
توفي	23 أغسطس 1898 (aged 65); إسون، فرنسا
القومية	بلجيكي
عـُرِف بـ	الطباعة الفنية، النقش الغائر، التخطيط، الرسم
العمل البارز	Pornocrates Les Sataniques Les Diaboliques
الحركة	الرمزية، 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]

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.

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)

الفن

فن فيليسيان روپس

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

المعرض 3: الرسوم الشيطانية

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

المصادر

^ Robert L. Delevoy (1978) Symbolists and Symbolism. Skira/Rizzoli International Publications, Inc., New York, 247 pp.
^ Jean Cassou (1979) The Concise Encyclopedia of Symbolism. Chartwell Books, Inc., Secaucus, New Jersey, 292 pp.
^ Lambiek Comiclopedia: Félicien Rops. Entry by Kjell Knudde. https://www.lambiek.net/artists/r/rops_felicien.htm
^ ^أ ^ب Patrick Bade (2003) Félicien Rops. Parkstone Press Ltd, New York, 95 pp.
^ Claude Pichois (1989) Baudelaire. Hamish Hamilton Ltd. (The Penguin Group, London ). ISBN 0241 124581
^ Lois Boe Hyslop and Francis E. Hyslop, Jr. (1957) Baudelaire: A Self-Portrait. Oxford University Press, London.
^ 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
^ خطأ استشهاد: وسم <ref> غير صحيح؛ لا نص تم توفيره للمراجع المسماة Blakeley (2015)

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

The Musée Félicien Rops in Namur (English, French)
Rops correspondence at Mount Holyoke College
أعمال من Félicien Rops في مشروع گوتنبرگ
Works by or about فيليسيان روپس at Internet Archive
Blakeley, H. R. (2015) Beyond Eros: Works by Félicien Rops in the Michael C. Carlos Museum. Carlos Museum and Emory's Center for Digital Scholarship, Emory University, Atlanta. Accessed 23 September 2019 https://rops.digitalscholarship.emory.edu/exhibits/show/felicien-rops
Félicien Rops Letters, http://www.ropslettres.be
Musée Félicien Rops [Félicien Rops Museum] https://www.museerops.be/accueil
Bienvenue au château de Thozée! - Welcome to Château de Thozée! (Accessed 30 December 2019)
Church of Saint-Loup at Namur. Wikimedia Commons, Category: Église Saint-Loup, Namur (Accessed 30 December 2019)

[[تصنيف:مواليد 1833]

الكلمات الدالة:

[Delevoy_(1978)-1] Robert L. Delevoy (1978) Symbolists and Symbolism. Skira/Rizzoli International Publications, Inc., New York, 247 pp.

[Cassou_(1979)-2] Jean Cassou (1979) The Concise Encyclopedia of Symbolism. Chartwell Books, Inc., Secaucus, New Jersey, 292 pp.

[Lambiek_Comiclopedia-3] Lambiek Comiclopedia: Félicien Rops. Entry by Kjell Knudde. https://www.lambiek.net/artists/r/rops_felicien.htm

[Bade_(2003)-4] أ ^ب Patrick Bade (2003) Félicien Rops. Parkstone Press Ltd, New York, 95 pp.

[Pichois_(1989)-5] Claude Pichois (1989) Baudelaire. Hamish Hamilton Ltd. (The Penguin Group, London ). ISBN 0241 124581

[Hyslop_&_Hyslop_(1957)-6] Lois Boe Hyslop and Francis E. Hyslop, Jr. (1957) Baudelaire: A Self-Portrait. Oxford University Press, London.

[Michaelides_(2014)-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

[Blakeley_(2015)-8] خطأ استشهاد: وسم <ref> غير صحيح؛ لا نص تم توفيره للمراجع المسماة Blakeley (2015)

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