The Greatest Love of Don Juan

CC0 Public Domain Designation

Prints and Drawings

1879

Félicien Rops
Belgian, 1833-1898

Status: Currently Off View
Department: Prints and Drawings

Artist: Félicien Rops
Title: The Greatest Love of Don Juan
Place: Belgium (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1879
Medium: Graphite with stumping, scratching and erasing on off-white wove paper, prepared with a white gouache ground (scratchboard)
Dimensions: 25.3 × 18 cm (10 × 7 1/8 in.)
Credit Line: Margaret Day Blake Collection
Reference Number: 1998.75
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/149050/manifest.json

O. Mirbeau, Félicien Rops (Brussels, 1897), p. 130.
C. Lemonnier, Félicien Rops (Paris, 1908).
C. Mascha, Félicien Rops und sein Werk (Munich, 1910), pp. 336-339.
A. Fontainas, Rops (Paris, 1925), pp. 115-119.
Robert Delevoy, Gilbert Lascault, Jean-Pierre Verheggen and Guy Cuvelier, Félicien Rops (Brussels, 1985), p. 198 (ill.).

Brussels, “VIme Exposition de XX avec un Préambule,” 1889, as Les Diaboliques, d’après J. Barbey d’Aurevilly.
Musée d’Ixelles, “Félicien Rops,” 1969, cat. 100.
Namur, “Félicien Rops,” 1971.
Oostende, “Opera Prohibita, Félicien Rops,” 1971.
Knokke, Casino, “Le Symbolisme en Belgique,” 1974.
Cultural Center of New York, “Painters of the Mind’s Eye, Belgian Symbolists and Surrealists,” 1974; also traveled to the Museum of Fine Arts in Houston.
Rotterdam, Museum Boymans-van Beuningen, ‘Le Symbolisme en Europe,” November 14, 1975- January 11, 1976, cat. 197b; also traveled to the Musées Royaux des Beaux-Arts de Belgique in Brussels, Staatische Kunsthalle in Baden-Baden; and the Galeries Nationales du Grand Palais, Paris.
Gent, Museum voor Schone Kunsten, “Veertig Kunstenaars rond Karel van de Woestijne,” January 20-March 11, 1979, cat. 27.
New York, Brooklyn Museum, “Belgian Art 1880-1914,” 1980, cat. 80.
Brussels, Le Botanique, “Félicien Rops,” March 1-April 28, 1985, cat. 172; also traveled to the Musée des Arts Decoratifs, Paris, June 6-July 21, 1985; and the Musée des Beaux-Arts, Nice, July 31-October 15, 1985.
The Art Institute of Chicago, “Becoming Edvard Munch: Influence, Anxiety and Myth”, February 14-April 26, 2009, pp. 81, 86-87, fig. 88, cat. by Jay A. Clarke
The Art Institute of Chicago, “Undressed: The Fashion of Privacy”, June 22-September 29, 2013

Edmond Deman (died 1918), by 1889 [Brussels 1889]. J. Odry, Brussels, by 1969-at least 1975 [Ixelles 1969; Rotterdam 1975]. Carlo de Poortere, Kortrijk and Courtai, by 1979-at least 1985 [Gent 1979; Brussels 1985]. Sold by Galerie Patrick Derom, Brussels, to the Art Institute, 1998.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.