On his return to France in the summer of 1899 Bigot suffered some kind of reverse culture shock, that is to say he found it very difficult to settle again into the life of his home country after an absence of seventeen years. Unfortunately, he was soon facing financial problems providing for his new family. In order to make ends meet he had to work for the general press in France as well as publishers of children's magazines and some of the satirical journals of his day (see Bibliography). He produced illustrations for numerous novels. He also considered doing illustrations for special editions of Yamada Kiku's novel Masako and forPierre Loti's Les derniers jours de Pékin, but these projects were never realized. A selection of the illustrations he prepared for the latter book which were found recently are reproduced here for the first time.

Soon after his return to Paris Bigot exhibited his oil paintings and engravings. Sadly, however, the enthusiasm of the art critics who called him ‘The Paris Japanese’ did not redound to his success and fame – worsening his mood and sense of cultural alienation.

In the caricatures that he drew for the satirical journals Bigot gave in to their wish to pander to the prejudices of the French public towards Japan, including criticizing the ways and customs of his beloved Japan, which had become for France a country of ‘Japonoiseries’.

He contributed to the Epinal series of popular colour prints, produced illustrations for menus, postcards of contemporary political figures and events, calendars, advertisements and posters etc.

Fortunately for posterity, the artist took up his painter's palette again and to the end of his life continued to paint in oil, watercolour and gouache, recording places he had visited during his travels in France. He also produced engravings on a variety of subjects.

He never lost his nostalgia for Japan but he died forgotten.