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Updated: June 25, 2025
The shrill dissonance in his work is instantly reflected in the brain of the speaker. In his best work not his skeletons dancing with plump girls, or the youthful macabre extravagances after the manner of Rops, Rethel, De Groux, or James Ensor he does invoke a genuine thrill.
He has painted scissors grinders, flower girls, "old guards," incantations, fishing parties, the rabble in the streets, broom-riding witches, apes, ivory and peacocks, and a notable figure piece, An Interment in the Walloon Country, which would have pleased Courbet. It is in his incarnations of Satan that Rops is unapproachable.
He illustrated for the Boulevard journals; he caricatured Louis Philippe and was sent to jail, Sainte-Pélagie, for six months. Many years afterward he attacked with a like ferocity Napoleon III. Look at his frontispiece rather an advertisement of Victor Hugo's Les Châtiments. It is as sinister, as malign as a Rops.
Victor Hugo was much stirred by the design, Le Pendu, which depicts a man's corpse swinging under a huge bell in some vast and immemorial, raven-haunted, decaying tower, whose bizarre and gloomy outlines might have been created by the brain of a Piranesi. An apocalyptic imagination had Félicien Rops.
"Guys exercised on Gavarni an influence which brought into being his Invalides du sentiment, his Lorettes vielles, and his Fourberies de femmes." It is not quite fair to compare Guys with Rops, or indeed with either Gavarni or Daumier. These were the giants of French illustration at that epoch.
He knew she would not have summoned him without having something grave to say, and saw that his surmises were correct by her method of receiving him. She was not in the drawing-room, but in Emery Bland's library, with a background of bindings of red and blue and green and gold, a few Brangwyn and Meryon etchings, and one brilliant, sinister spot of color by Félicien Rops.
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