Signed and dated in print, l.l.: Tancrède ; l.l.: T Abraham sculp. ; l.r.: Imp. Delâtre, Rue St. Jacques, 303, Paris ; l.c.: LA JOUANE Paris, Publié par CADART & LUQUET, Editeurs, 79, Rue Richilieu. ; u.r.: 276.
A small polished bronze sculpture of a biomorphic form rising gracefully from a small base. Where it contacts the base, the form stands on two leg-like structures. The form rises from there, narrows, then opens up into a wider, more oblong shape at the top.
An early example of Jean (Hans) Arp's interest in biomorphic abstraction. In its attention to basic, generic biomorphic shapes the piece is a kind of study of primordial organic forms, forms suggestive of all manner of life but not representing anything specifically.
A small, biomorphically abstract sculpture of bronze grows from a wooden base. Bulbous at the bottom, the shape stretches and narrows in the middle and then expands into a larger shape from which two rounded points rise.
An example of Jean (Hans) Arp's interest in biomorphic abstraction. In its attention to basic, generic biomorphic shapes the piece is a kind of study of primordial organic forms, forms suggestive of all manner of life but not representing anything specifically.
Three grief-striken figures lament over the body of a dead man lying on the ground before them. One of these figures, a robed woman who clasps her hands in agony, leans forward to peer into the face of the dead man, who is rendered with dramatic foreshortening. To the left of this woman sits a long-haired man wiping his eyes while another woman with wild unkempt hair seated next to him raises her arms in abject sorrow. Three nails and a pair of vessels sit in the immediate foreground next to the artist's initials "HGB."
This woodcut print depicts the Virgin Mary, St. John the Evangelist, and Mary Magdalene lamenting over the body of Christ at the foot of the cross. The Virgin, with her cowl drawn over her head, leans over Christ's body, while John and the Magdalene, wild with grief, sit behind her. The posts of the three crosses and a ladder as well as the feet of the two criminals executed with Christ appear behind this dramatic knot of figures. The nails driven through Christ's hands and feet sit prominently alongside two vessels in the foreground.
This black and white print has a vertical format with a single standing figure. The figure, shown in profile, has the right arm upraised with palm up. He is wearing voluminous drapery and has a halo and bare feet. There is a long bladed saw on the ground beside him.
This print portrays an apostle of Jesus Christ, St. Simon the Zealot. In art, he is usually depicted with a saw which is a reference to his martyrdom.
Though Jacques Bellange was one of the most influential French painters of the sixteenth century, nearly all of his paintings have been lost and his reputation now stands on the evidence of his remaining prints and drawings. Not much is known of the artist’s life outside of his work for the court in what is now the Lorraine area of France, but it is believed that he took up etching only about five years before his death and supervised the printing of his copperplates himself. The surviving etchings are principally religious figures, including images from the life of Christ, as well as sets of the three Magi and the twelve Apostles.