更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 46 件 費利西安·羅普斯 作品收录于我们的目录中
简而言之
在 費利西安·羅普斯 留下的所有原作中，最著名的当属收藏于 Namur musée provincial Félicien Rops 的《The Entrance to the Ball (1858)》。 紧随其后的是 Satanic Self-Portrait (1860) 和 Head of an Old Antwerp Woman (1873)。 我们的目录收录了 費利西安·羅普斯 的 46 件作品；画廊完整保留了 46 件享誉世界的杰作，并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
In "The Entrance to the Ball" by Félicien Rops, the composition is vertically oriented, drawing the eye upward through a narrow, compressed space. The perspective is set at eye level, adopting a side view that places us directly alongside the central figure. This man, perhaps a guest or a servant, is positioned in the foreground near a doorway. The entrance itself is marked by text, providing a specific point of…
Created about 1860, Satanic Self-Portrait by Félicien Rops presents a monochromatic study of the artist himself. The work captures a somber and introspective image of Félicien Rops, rendered in a limited palette of grayscale tones and subtle browns. He is depicted from the waist up, his head slightly bowed in a gesture of melancholy or deep thought. A large, draped garment covers his shoulders, adding a sense of weight to…
In the work Head of an Old Antwerp Woman by Félicien Rops, the composition is a medium close-up that focuses on the subject's head and upper torso. The subject is an aged woman positioned slightly off-center within the frame. She is depicted from a direct, eye-level view, creating an intimate proximity between the viewer and the subject. The background remains dark and indistinct, providing no specific details of a domestic…
In "The Lady with the Puppet and the Fan" by Félicien Rops, a vertical portrait captures a woman in profile. She occupies the left and center of the frame, her gaze fixed upon a small, colorful jester-like puppet held in her hand. The scene is set against a background of ochre, gold, and yellow. This warm backdrop provides a sharp contrast to the cool blues and teals of her attire.…
In the Wings by Félicien Rops presents a vertical, figurative scene executed in a Symbolist style. Created about 1878, the work captures a backstage or theatrical setting defined by a palpable sense of tension and voyeurism. The composition centers on two primary figures positioned within a dark, draped environment.
The incantation is a painting by Félicien Rops. Created about 1878, this work emerges from the artist's period of intense exploration into the shadows of the human psyche. It exists as a singular vision within his body of work, capturing a specific, heavy atmosphere through its deliberate composition.
The Lady with the Puppet emerges from the creative mind of Félicien Rops, a Belgian artist who navigates the shadowy realms of Symbolism and Decadence. This specific piece exists as part of a small series of variations on a theme, where the artist explores recurring motifs through a lens of psychological depth. Within this collection, the work captures a singular, suspended moment of interaction between a woman and a miniature…
Eggnog by Félicien Rops is a small-scale, intimate figurative work created in 1879. The scene captures a private, domestic moment between two figures within an interior setting. A woman stands as a central vertical axis, dressed in light, possibly intimate, undergarments. She holds a small dish or cup, positioned as if in the act of serving. Opposite her, a man is seated in the foreground, providing a diagonal counterweight to…
We are looking at The Farewells of Madness - Better to Bear Laughter Than Tears, a work produced by Félicien Rops around 1879. This piece emerged from the creative period of an artist who was born in 1833 in Namur, Belgium. Rops spent much of his life navigating the shifting intellectual currents of the late nineteenth century until his death in 1898.
Cherubim's Song is a work by the Belgian artist Félicien Rops. Created about 1879, this piece belongs to a period in the artist's career where his output was closely associated with the Symbolism and Decadence movements. Rops was born in 1833 in Namur, Belgium, a location that remains central to his biographical history.
The Sphinx1882
12
The Slag1882 · musée provincial Félicien Rops
13
The Temptation of Saint Anthony
14
A Gentleman and a Lady (Aurelien Scholl and Marie Colombier)1891
15
Tranformism
16
Death at the Ball克羅勒爾·穆勒博物館
17
Untitled (868)
18
The Werewolf1868
19
The Hanged Man1868
20
Landscape in Sweden1871 · Museum of Fine Arts Ghent (MSK)
21
Cupid with a Tambourine汉默艺术博物馆
22
Landscape in the Ardennes1882 · 安特卫普皇家美术馆
23
Pears and Apple on a Plate1882 · musée provincial Félicien Rops
24
Heyst, 18811881
25
The Satanic. Removal1882
26
The Sacrifice, from The Satanic Ones1882
27
'The Hidden Side of a Whist Party', illustration from 'Les Diaboliques' by Jules Amedee Barbey d'Aurevilly (1808-89) 1886 (engraving) (b/w photo)1886
28
Snow at Thozée1898
29
The Physician of Fevers
30
The Man with the Wild Woman
31
A Nude
32
Louis Namêche
33
Coquette in front of a mirror
34
Study For The Temptation Of St. Anthony
35
The Dance of Death
36
The Social Revolutionmusée provincial Félicien Rops
37
Beach安特卫普皇家美术馆
38
Bridge over the River Lesse安特卫普皇家美术馆
39
Barges in Dinant安特卫普皇家美术馆
40
The Fishing Port of Blankenberge安特卫普皇家美术馆
41
After Midnight (The Return to Love the Lack of It)
42
Woman With A Trapeze
43
The Row
44
Poster For An Exhibition
45
Woman With A Mask
46
The lady with the puppet1885 · musée provincial Félicien Rops
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 5 家博物馆。
| 博物馆 | 城市 | 費利西安·羅普斯 的作品 | 此列表中的画作 |
|---|---|---|---|
 musée provincial Félicien Rops |
Namur | 11 | The Entrance to the Ball, Head of an Old Antwerp Woman, The Lady with the Puppet and the Fan |
 安特卫普皇家美术馆 |
安特卫普 | 5 | Landscape in the Ardennes, Beach, Bridge over the River Lesse |
 克羅勒爾·穆勒博物館 |
奧特洛 | 1 | Death at the Ball |
 Museum of Fine Arts Ghent (MSK) |
根特 | 1 | Landscape in Sweden |
 汉默艺术博物馆 |
洛杉矶 | 1 | Cupid with a Tambourine |
选择一个年代，探索定义该时代的原创杰作。
In "The Entrance to the Ball" by Félicien Rops, the composition is vertically oriented, drawing the eye upward through a narrow, compressed space. The perspective is set at eye level, adopting a side view that places us directly alongside the central figure. This man, perhaps a guest or a servant, is positioned in the foreground near a doorway. The entrance itself is marked by text, providing a specific point of…
Created about 1860, Satanic Self-Portrait by Félicien Rops presents a monochromatic study of the artist himself. The work captures a somber and introspective image of Félicien Rops, rendered in a limited palette of grayscale tones and subtle browns. He is depicted from the waist up, his head slightly bowed in a gesture of melancholy or deep thought. A large, draped garment covers his shoulders, adding a sense of weight to…
In the work Head of an Old Antwerp Woman by Félicien Rops, the composition is a medium close-up that focuses on the subject's head and upper torso. The subject is an aged woman positioned slightly off-center within the frame. She is depicted from a direct, eye-level view, creating an intimate proximity between the viewer and the subject. The background remains dark and indistinct, providing no specific details of a domestic…
The Lady with the Puppet emerges from the creative mind of Félicien Rops, a Belgian artist who navigates the shadowy realms of Symbolism and Decadence. This specific piece exists as part of a small series of variations on a theme, where the artist explores recurring motifs through a lens of psychological depth. Within this collection, the work captures a singular, suspended moment of interaction between a woman and a miniature…
In this black and white lithograph, titled A Gentleman and a Lady (Aurelien Scholl and Marie Colombier), the artist Félicien Rops captures a quiet moment of intimacy. Created about 1891, the work presents a gentleman and a lady seated together on an ornate sofa. There is a sense of stillness in their poses, suggesting a private conversation held within a contained, domestic setting. The figures occupy much of the frame,…
The Entrance to the Ball (1858)，musée provincial Félicien Rops, Namur。紧随其后的是 Satanic Self-Portrait (1860) 和 Head of an Old Antwerp Woman (1873)。
25岁：The Entrance to the Ball创作于1858年，費利西安·羅普斯出生于1833年。
The Entrance to the Ball, Satanic Self-Portrait, Head of an Old Antwerp Woman, The Lady with the Puppet and the Fan, In the Wings, The incantation, The Lady with the Puppet, Eggnog, The Farewells of Madness - Better to Bear Laughter Than Tears 及 Cherubim's Song。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 46 件 費利西安·羅普斯 的作品，创作年代从 1858 年至 1898 年。
多见于 musée provincial Félicien Rops (Namur), 安特卫普皇家美术馆 (安特卫普) 及 克羅勒爾·穆勒博物館 (奧特洛)。上方的博物馆列表列出了所有相关机构。
在 1880s 期间：本页 46 件作品中有 10 件创作于该时期，其中包含 The Lady with the Puppet 件作品。
在本页面中，最早的作品创作于 The Entrance to the Ball (1858)，最晚的创作于 Snow at Thozée (1898)。
Woman (10), Man (7) 及 Portrait (3)，共计 46 件作品。
Pastel，共计 3 件（本页共有 46 件作品）。
根据本页面的原作，Symbolism
The Entrance to the Ball, Head of an Old Antwerp Woman 及 The Lady with the Puppet and the Fan：musée provincial Félicien Rops, Namur收藏了本页中 11 件作品。
