Between 1890 and 1925 Dubosq decorated 446 theatrical entertainments of virtually every possible kind: ballet, circus, (melo)drama, opera, operetta, pantomime, revue, and vaudeville.

However, since fin-de-siècle Paris was already saturated with ateliers de décors, Dubosq emigrated to Belgium in June 1887 to establish his own workshop in the country's flourishing capital, Brussels.

On 3 January 1890, he debuted as a self-employed stage designer at the Théâtre de l’Alcazar, furnishing scenery for Luc Malpertuis and George Garnir's Ex-Clarmonde, a vaudevillian spoof of Massenet's opera Esclarmonde (1889).

Bruxelles à cheval was to be the first of Dubosq's many contributions to the revue, a satirical genre involving spoken dialogues, sung couplets, ballets, and parades.

With a fresh palette and a photographic sense of realism, Dubosq’s revue sets conjured up the new hotspots of Brussels, next to featuring comic fantasies and even Jules Vernian science-fiction.

At the Alhambra and Théâtre Royal du Parc in Brussels, the artist provided spoken plays of melodramatic allure with historicist and exotic sets that received praise from the press and audience alike.

Une grosse lanterne rouge éclaire, seule, ce coin désolé … Au troisième acte, un décor superbe, un décor de rêve, de Dubosq encore, et qui fera sensation sans aucun doute; deux jardins contigus séparés par un mur qui disparaît sous l’admirable végétation du pays; une rivière serpente parmi les lotus, les buissons aux mille fleurs du printemps.

The highlight of Dubosq's career was no doubt the staging of Götterdämmerung at the Parisian Académie Nationale de Musique (Palais Garnier, 23 October 1908), to which the artist contributed three magnificent sets—with resident set designers Eugène Carpezat and Marcel Jambon furnishing (only) one each.