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| Jacques Bellange The Death of Portia ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange Three Holy Women ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange Three Holy Women at the Sepulchre ca. 1611-16 etching Museum of Fine Arts, Boston |
"The key to understanding the originality of Bellange's prints is to think of them as combining the composition and figures of Northern Mannerism with the graphic language of Italian etching."
– Antony Griffiths and Craig Hartley in Jacques Bellange, Printmaker of Lorraine (British Museum, 1997)
"Bellange is one of those painters whose licentious manner, completely removed from a proper style, deserved great distrust. It nevertheless had its admirers, and Bellange had a great vogue. . . . Several pieces by him are known, which one cannot bear to look at, so bad is their taste."
– Pierre-Jean Mariette (1694-1774)
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| Jacques Bellange A Gardener with a basket on her arm ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange Diana and Orion ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange A Hurdy-Gurdy Player attacking a Pilgrim ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange Pietà ca. 1611-16 etching Museum of Fine Arts, Boston |
"After the middle of the sixteenth century this type of Pietà almost inevitably reflected the influence of one of Michelangelo's famous versions. Bellange's version – his most monumental yet compact composition – has been compared by most writers with the presentation drawing that Michelangelo made for Vittoria Colonna, which was well known through sixteenth-century prints by Giulio Bonasone, Nicolas Beatrizet, and Agostino Carracci. The position of Bellange's figure of Christ in relation to the Virgin is similar to that found in these prints, although Bellange has omitted the angels which support Christ's arms. In addition, the shape of his body has been transformed so that his head is thrown back, echoing the Virgin's, instead of hanging limply forward. Whereas Michelangelo's Virgin holds her arms wide apart and looks questioningly up to heaven, Bellange shows her in a far more abandoned, swooning pose that recalls the ecstatic religious fervour of the visions described by Counter-Reformation figures such as St Philip Neri; these found later expression in Baroque manifestations such as Bernini's Saint Teresa."
– Antony Griffiths and Craig Hartley in Jacques Bellange, Printmaker of Lorraine (British Museum, 1997)
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| Jacques Bellange St Paul ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange St Simon ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange St Thomas ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange St Philip ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange St James the Greater ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange St James the Less ca. 1611-16 etching Museum of Fine Arts, Boston |
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| Jacques Bellange St John the Evangelist ca. 1611-16 etching Museum of Fine Arts, Boston |