LOUISE BOURGEOIS: COMPLETE BOOKS & PRINTS

Themes:

Figures, Motherhood & Family

Techniques:

Aquatint, Drypoint, Engraving

Description:

Aquatint, drypoint, and engraving

Dimensions:

plate (a): 18 15/16 × 23 13/16" (48.1 × 60.5 cm); plate (b): 18 13/16 × 35 9/16" (47.8 × 90.4 cm); plate (c): 18 13/16 × 29 5/16" (47.8 × 74.4 cm); sheets (3 lined up left to right): 29 × 109 3/4" (73.7 × 278.8 cm)

Signature:

"Louise Bourgeois 94-00" lower right (each sheet); pencil.

Publisher:

The artist

Printer:

Harlan & Weaver, New York

Edition:

6 known variant triptychs, outside the final edition

Impression:

"AP 1" lower left (each sheet); pencil, unknown hand.

Edition Information:

This composition was issued as 4 separate editions:

Single sheet: “Arched Figure”: 50; plus 10 P.P. (numbered I/X-X/X)

Diptych: “Diptych for the Red Room”: 3

Triptych 1: “Arch of Hysteria” (photocopy; reduced size): 3 completed, of an announced edition of 7

Triptych 2: “Triptych for the Red Room”: 30; plus 10 A.P.

In the evolution of “Triptych for the Red Room,” the artist worked with impressions of components A, B, and C at various states. She also combined impressions at various states to create 6 unnumbered triptychs: three signed, with hand additions; two signed, with no hand additions; one unsigned, with no hand additions.

The Evolving Composition Diagram includes all works described above.

There are 4 printer's studies in MoMA's Collection (Accession Numbers: 470.2010, 471.2010, 472.2010, 473.2010). They are not illustrated here.

State Changes and Additions:

Matrices:
The progression of this composition involved 13 plates as well as photocopy versions of each component. The 13 plates included linear elements of the composition in drypoint and engraving; aquatint shading in the figures’ bodies; and various aquatint backgrounds.

State Changes:
Given the complexity of the development of this composition, the Evolving Composition Diagram is arranged by Component (A, B, and C for each sheet of this 3-sheet composition) and Format (single sheet, diptych and triptych) rather than by State and Version. State and Version changes are described, but specific plates (of the 13 utilized for this composition) are not identified.

(A): Changes from version 2, state II, in aquatint: shading added to adult and child; details added to figures’ faces; background darkened.
Changes from version 2, state II, in engraving: adult’s hair further delineated.
Changes from version 2, state II, in drypoint: hatching added to both figures, creating shadow along the left of their contours; eyebrows added to both figures.

(B): Changes from version 3, state III, in drypoint: hatched shading extended down child’s arms.

(C): Changes from version 2, state II, in aquatint: shading added to adult.
Changes from version 2, state II, in drypoint: hatched shading added to both figures, emphasizing shadow along right side; child’s mouth and eyes filled in; adult’s ribcage further delineated; child’s feet shaded.

Background:

"Triptych for the Red Room" was first exhibited in 1994 at Peter Blum Gallery with Bourgeois' related dual installation pieces, "Red Room (Parents)" and "Red Room (Child)" (see Related Works in Other Mediums).

Artist’s Remarks:

Inscribed on the source drawing for component C: "Which one are you? Today? / The tall one or the short one / I can be either one. / You have to be / Ready to deal / with a scene / like this. I could not / even carry the bundle"

Curatorial Remarks:

Catalogue Numbers for the various impressions refer to their location within the Evolving Composition Diagram, rather than to the version or state.

© The Easton Foundation/VAGA at ARS, NY