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There is one known impression of state II, outside the edition, in MoMA's Collection (Accession Number: 640.2008). It is not illustrated, due to its similiarity to the impression seen here.
State Changes and Additions:
Changes from state I, in drypoint: line added to right side of telephone.
Background:
Bourgeois was often inspired by the subjects of early drawings when creating works at much later dates. This 1994 portfolio is an example of a project based primarily on drawings from the 1940s and referring to her life in New York at that time. The exceptions are as follows: plate 1, based on a drawing from 1986 that references childbirth; plates 4 and 9, based on drawings from the 1940s but depicting memories of her childhood years in France; plate 11, most probably based on a drawing from the 1940s of a European hotel desk.
Artist’s Remarks:
Inscribed by the artist on the wrapper for this plate: "An idealized portrait of Robert / Robert he protects / controls all the keys / and in charge of / protecting the family / the men are / idealized / by me / + the women / are always difficult."
Installation Remarks:
The prints in this portfolio can be shown as a group or individually. There is no required sequence.
Curatorial Remarks:
Of the 14 plates in "Autobiographical Series," Bourgeois titled plates 6 and 12. The untitled plates have been assigned descriptive titles for cataloguing purposes.
Bibliography:
Malbert, Roger, and Juliet Mitchell. "Louise Bourgeois: Autobiographical Prints." London: Hayward, 2016. (Catalogue accompanying the touring exhibition "Louise Bourgeois Prints: Autobiographical Series and 11 Drypoints".)
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
74.1997.11
This Work in Other Collections:
Kunstmuseum Bern, Switzerland Museu da Gravura Cidade de Curitiba, Brazil Tate Modern, London
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