Louise Bourgeois. La Maladie de l'Amour (2008)

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Louise Bourgeois. La Maladie de l'Amour. 2008

NOT IN MoMA'S COLLECTION

Cat. No. 807, variant

La Maladie de l'Amour

State/Variant:: Only state
Date:: 2008

Themes:: Abstraction, Body Parts, Nature
Techniques:: Etching
Description:: Soft ground etching
Support:: Smooth, wove paper
Dimensions:: plate: 60 1/4 × 15 13/16" (153 × 40.2 cm); sheet: 61 7/8 × 16 5/16" (157.1 × 41.4 cm)
Signature:: "Louise Bourgeois" lower center to lower right comp., pencil.
Inscription:: "first proof" lower left comp., pencil, artist's hand.
Publisher:: Osiris, New York
Printer:: Wingate Studio, Hinsdale, NH
Edition:: 1 known variant impression of the only state, outside the edition and unique variants
Impression:: Not numbered
Edition Information:: Proof before the editioning of the only state.

The “La Maladie de l’Amour” edition is irregular in that "1/3" consists of a single impression, while “2/3” and “3/3” are diptychs. Selective wiping varies significantly throughout the edition.

Outside the edition there are 6 unique variants that incorporate this plate. They all include hand additions and sometimes partial inking of the plate. When the plate is used alone, the work is included in the Evolving Composition Diagram. When it is printed with other plates, it is included in Related Works in the Catalogue.

See Evolving Composition Diagram:
Untitled, no. 3 of 5, from the series, "The Vocabulary of Seduction"
"La Maladie de l'Amour"
"La Maladie de l'Amour (#2)"
"La Maladie de l'Amour (#3)"

See Related Works in the Catalogue:
Untitled, no. 2 of 5, from the series, "The Vocabulary of Seduction"
Untitled, no. 3 of 4, from the series, "What Why When Where Who and How!!"
Background:: Benjamin Shiff, the director of the Osiris imprint, collaborated with Bourgeois in a highly experimental phase of printmaking that occupied the last years of her life, from 2005 to 2010. He first established a working relationship with the artist in the 1990s, but the late period is particularly noteworthy for the innovative and complex large-scale projects that evolved at that time. Shiff made use of professional workshops for printing, but he oversaw the creation of the printing plates as Bourgeois worked on them in her home studio. He also provided assistance as she added extensive hand additions and texts, and as she combined individual compositions into multi-panel works and illustrated books.