There are variations in the fabrics used in this edition, including light staining, as is commonly found in the old fabrics Bourgeois chose to use as printing surfaces.
The inking and amount of plate tone and selective wiping varies across the edition. For comparison, see substantial variation in the two other State II impressions in the Evolving Composition Diagram below.
State Changes and Additions:
Changes from state I in drypoint: collar bones added.
According to Bourgeois’s assistant, Jerry Gorovoy, the artist occasionally crossed her eyes to amuse her friends. Also, she admired the paintings of cross-eyed women by artist John Graham (1886-1961).
The compositions within this series can be exhibited individually.
The plate dimensions of this impression could not be documented because this work is not in MoMA’s collection and could not be examined in person. The plate dimensions given are from the published impression on fabric in MoMA’s collection. Dimensions of fabric works often vary slightly due to stretching.
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