5 on fabric, and an edition of 10 on paper with 2 A.P., 1 P.P.
Of the 5 editioned impressions on fabric, 3 are collaged with a fabric flower (1/5, 2/5, 3/5). An example with a fabric flower is included in the Evolving Composition Diagram below.
There is 1 known additional impression of version 2, state II, on fabric, with a fabric flower, outside the edition on fabric. That impression is part of a 2009 series of 16 fabric collages entitled "Eugénie Grandet."
There is 1 known variant impression of version 2, state II, on fabric, outside the edition on fabric. That impression is collaged on a hand towel embellished with the word "Mother" and two flower motifs. See below in the Evolving Composition Diagram.
State Changes and Additions:
Changes from version 1, in drypoint: composition transferred to a new plate; leg shortened beneath knee; stomach more prominently rounded; hair further delineated. Changes from version 1, in aquatint: hair further delineated; outlines reinforced overall. Changes from version 2, state II, by burnishing: front of leg, back of leg below the knee, and lower belly, all in aquatint, removed. Changes from version 2, state II, in drypoint: front of leg, back of leg below the knee, and lower belly, reconfigured; eye enlarged.
Bourgeois derived this title from a novel by Honoré de Balzac, the plot of which involved the domination of a father over his daughter. Bourgeois identified with the situation. Inspired by an exhibition project for the Maison de Balzac in Paris, Bourgeois created a series of works based on the character Eugénie Grandet. The exhibition “Moi, Eugénie Grandet” took place 11/2/10-2/7/11 and included an accompanying catalogue with an essay by Jean Frémon.
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