He was succeeded by Jules Grévy, who transferred real power from the post of president to the prime minister and legislature. This led to a period of internal stability and prosperity for France. Through Gill, Cohl had become acquainted with an artistic circle calling themselves the Hydropathes. The group was united by various "modern" ideas and a love of poetry. The group, like many others of the time, based most of their activities on shocking people. As a result of his new-found fame, Cohl was named editor of the group's spokes-piece, "L'Hydropathe", on October 28, 1879. At about this time Émile's estranged father died, leaving him a modest legacy. Émile Cohl set out to discover his abilities, writing and producing two satiric plays that did very poorly. The co-author of both plays was Norés (pseudonym of Edouard Norés), an American who had been an architect before giving up his former life for Bohemianism on the banks of the Seine. Besides a strong friendship, Norés taught Cohl English, a useful skill later on.  Émile Cohl married on November 12, 1881; his wife later left him for an author. At the same time, André Gill was committed to the Charenton mental asylum. He managed to recover in a few months and in 1882 submitted his first serious painting, "Le Fou" (The Madman) to the Salon. The painting's poor reception by the artists of the Salon sent him back to Charenton. Meanwhile, the Hydropathes had disbanded in 1882. Their place in Cohl's life was replaced by the Incoherents. The group was founded by Jules Lévy, who coined the phrase "les arts incohérents" as a contrast to the common expression "les arts décoratifs". The Incoherents were even less politically minded than the Hydropathes. Their slogan was "Gaity is properly French, so let's be French". The focus was absurdism, nightmares, and the drawing style of children. Cohl's Incoherent art joined his caricatures and satiric news reporting at "La Nouvelle Lune", where he had become the major contributor and acting editor. He became editor in chief on November 30, 1883. By November 1883, the Incoherents had become so big that an exhibit was arranged at the Vivienne Gallery, open to the public.