Changes from state III, in engraving: center crescent further delineated.
This is about "germination" and the "serenity of the pregnant woman... This is a happy mood... I have lots of friends. But, later, the black mood will come... I do not deserve to be happy... to be a mother. I do not deserve friends." (Quote cited in Wye, Deborah and Carol Smith. “The Prints of Louise Bourgeois.” New York: The Museum of Modern Art, 1994, p. 124.)
An amendment has been made to the cataloguing of this impression in Wye and Smith, "The Prints of Louise Bourgeois," 1994, p. 124. Monotype has been removed from techniques. What appears to be monotype is actually just heavy inking.
In the second half of the 1940s, Bourgeois spent time at Atelier 17, the print workshop of Stanley William Hayter. The workshop had transferred operations from Paris to New York during the war years. It is not known precisely which prints she made at the workshop since she also worked at home on a small press. The designation of “the artist at Atelier 17” as printer means that the impression was likely made at the workshop. The designation is based on dates, inscriptions, techniques favored at Atelier 17, and/or stylistic similarities to images in the illustrated book “He Disappeared into Complete Silence,” which the artist repeatedly cited as having been made at Atelier 17. It is also possible that Bourgeois worked on certain plates both at home and at the workshop, or pulled impressions at both places.
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