Uzanne never married, and in later life he wrote in praise of celibacy; however, according to Remy de Gourmont, in writing about women Uzanne would not have been one of those authors who "exalted ambrosia without having tasted it".
Uzanne's feelings toward women, as well as those of Jules Barbey d'Aurevilly, were ambivalent in nature, a mixture of attraction and indifference.
He also explored the concept of woman artists, subscribing to the view that women lack creative ability, a quality he associated solely with men: "The curious and paradoxical physiologist [Cesare Lombroso?]
has argued that the woman genius does not exist, and when such genius manifests itself it is a hoax of nature; in this sense, she is male."
Based on that, Uzanne said that women artists perpetrated mediocre studies and exhibitions of painting and sculpture, and used this argument to support the idea that gender difference is the foundation of creativity.

Silverman mentions that he became in an "archetypal figure of the Belle Époque", a "handsome monsieur with a beard" (joli monsieur avec une barbe) admired by Félicien Rops, and an "elegant storyteller" (l'élégant conteur) according to Anatole France.
Silverman notes a contrast between the snobbish, dandy and reactionary side of Uzanne with a penchant for forgotten authors of the 17th and 18th centuries, and he, in turn, was an innovative artist and bibliophile, the antithesis of the antique collectors of the "old guard", formed by bibliophiles—mostly aristocrats—who organised the Société des Bibliophiles François.
Uzanne spent his last years in his apartment in Saint-Cloud, where he died on 21 October 1931.
His remains were cremated at the crematorium and cemetery Père Lachaise.

Monsieur, you have the feeling of women [le sentiment de la femme].
You have what no one else has in our cold era: a loving imagination.

— Preface of Barbey d'Aurevilly in Le bric-à-brac de l'amour by Uzanne, 1879, p. X
Uzanne never married, and in later life he wrote in praise of celibacy; however, according to Remy de Gourmont, in writing about women Uzanne would not have been one of those authors who "exalted ambrosia without having tasted it". Uzanne's feelings toward women, as well as those of Jules Barbey d'Aurevilly, were ambivalent in nature, a mixture of attraction and indifference. He also explored the concept of woman artists, subscribing to the view that women lack creative ability, a quality he associated solely with men: "The curious and paradoxical physiologist [Cesare Lombroso?] has argued that the woman genius does not exist, and when such genius manifests itself it is a hoax of nature; in this sense, she is male." Based on that, Uzanne said that women artists perpetrated mediocre studies and exhibitions of painting and sculpture, and used this argument to support the idea that gender difference is the foundation of creativity.
Silverman mentions that he became in an "archetypal figure of the Belle Époque", a "handsome monsieur with a beard" (joli monsieur avec une barbe) admired by Félicien Rops, and an "elegant storyteller" (l'élégant conteur) according to Anatole France. Silverman notes a contrast between the snobbish, dandy and reactionary side of Uzanne with a penchant for forgotten authors of the 17th and 18th centuries, and he, in turn, was an innovative artist and bibliophile, the antithesis of the antique collectors of the "old guard", formed by bibliophiles—mostly aristocrats—who organised the Société des Bibliophiles François. Uzanne spent his last years in his apartment in Saint-Cloud, where he died on 21 October 1931. His remains were cremated at the crematorium and cemetery Père Lachaise.
Monsieur, you have the feeling of women [le sentiment de la femme]. You have what no one else has in our cold era: a loving imagination.
— Preface of Barbey d'Aurevilly in Le bric-à-brac de l'amour by Uzanne, 1879, p. X
Octave Uzanne