Changes from version 2: composition transferred to a new matrix, in stencil. New matrix used for rubbing.
"When this was done, it was a real exorcism... I didn't hold a grudge. There had been a sharp disappointment." Bourgeois continued, "I think it was that I was not included in a show... I was refused." Showing some lead sheets like those she used for the matrices of these prints, she remarked, "I love this material... lead... I cut out the shape. I would call the metal letters branding... I used a mallet to bang them. I used it because I wanted to emphasize it. There is branding, rubbing, and stencil here. This is experimental." (Quote cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 144.)
"The impetus and the violence came from the fact that I was put in a situation of rivalry with a lot of my colleagues. [...] 'Whitney Murders' meant I resented so much the whole thing, because I was not in. You see? That I was ready to murder everybody, right?" (Quote cited in Bourgeois, Louise and Lawrence Rinder. "Louise Bourgeois Drawings and Observations." Berkeley: University Art Museum and Pacific Film Archive University of California, Berkeley; Boston: Bulfinch Press, 1995, pp. 316-317.)
In Wye and Smith, "The Prints of Louise Bourgeois," 1994, p. 144-147, techniques were catalogued as follows: Versions 1 and 2: lead rubbing; version 3: stencil and rubbing. Actually, the artist's inscription on an impression of version 1 clarifies that she was referring to the method of relief printing in which a spoon is used to apply pressure to the verso of the paper sitting on top of the plate, thus transferring the image without the use of a printing press. This is the technique that was used in the printing of version 1 and 2. In contrast, version 3 includes rubbing (frottage) in the traditional sense.
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