Buy Louise Bourgeois Prints
We are pleased to present Louise Bourgeois: Prints Published by Peter Blum Edition celebrating the collaboration between artist and print publisher from 1988-2004, featuring ten available prints and portfolios. Louise Bourgeois was born in Paris in 1911, and she passed away in New York in 2010. Over the course of nearly a century, Bourgeois would become known for her sculptures, drawing, and prints that emerged from emotions she struggled with throughout her life. The artist's printed oeuvre, both figurative and abstract, includes subject matter she revisited across decades offering insight towards her creative process and her personal history.Please click "Inquire" below the artwork details to contact the gallery for more information
buy louise bourgeois prints
Bourgeois settled in New York City with her husband in 1938. She continued her education at the Art Students League of New York, studying painting under Vaclav Vytlacil, and also producing sculptures and prints. "The first painting had a grid: the grid is a very peaceful thing because nothing can go wrong ... everything is complete. There is no room for anxiety ... everything has a place, everything is welcome."
Bourgeois's printmaking flourished during the early and late phases of her career: in the 1930s and 1940s, when she first came to New York from Paris, and then again starting in the 1980s, when her work began to receive wide recognition. Early on, she made prints at home on a small press, or at the renowned workshop Atelier 17. That period was followed by a long hiatus, as Bourgeois turned her attention fully to sculpture. It was not until she was in her seventies that she began to make prints again, encouraged first by print publishers. She set up her old press, and added a second, while also working closely with printers who came to her house to collaborate. A very active phase of printmaking followed, lasting until the artist's death. Over the course of her life, Bourgeois created approximately 1,500 printed compositions.
In 1990, Bourgeois decided to donate the complete archive of her printed work to The Museum of Modern Art. In 2013, The Museum launched the online catalogue raisonné, "Louise Bourgeois: The Complete Prints & Books." The site focuses on the artist's creative process and places Bourgeois's prints and illustrated books within the context of her overall production by including related works in other mediums that deal with the same themes and imagery.
However, despite their dark character, the prints also expose the artist's playful spirit, as even the grimmest of all scenarios are turned into a visual pun. The Smell of Feet offers an irreverent incarnation of Proust's famed madeleine episode; a female Mosquito becomes a noble, bejewelled princess; and The Angry Cat makes for the perfect drinking companion once you realise his nose is a glass of red wine. The artistic fallout is eerie and absurd yet perfectly comical, with drawings that jest at the most fundamental of human anxieties, transforming them into something familiar and altogether more accessible.
With Bourgeois, the enigma of American sculpture persists to this day in her prints. "My mother was right. Suffer and die." It sounds like a final plea from the heart, from a woman long past the need for compromise. Not that this artist was ever one to compromise, and MoMA had every right two years ago to call more than two hundred and fifty prints from its collection "An Unfolding Portrait." For all her words, a better sense of the artist might well begin there.
The curators, Deborah Wye with Sewon Kang, seek a compromise between chronology and an arrangement by subject matter. It is not easy, given an artist who could not get enough repetition and variation. Room titles, such as "abstracted emotions" and "forces of nature," can be more cryptic than the prints, but then her thoughts and feelings always flow together. Those spider legs may spiral inward as a tightening of the chest or outward as a release. A bell jar can suggest natural history, but she may herself be the subject of an unwanted experiment. The Sky's the Limit, runs another title, but it is a difficult climb (or Montée Difficile).
Louise Bourgeois ran at the Jewish Museum through September 12, 2021, and her prints at The Museum of Modern Art through January 28, 2018. Related reviews look at Bourgeois in retrospective and Bourgeois as a painter.
The show opens with The Fragile (2007), 36 freewheeling doodles digitally printed on cloth, of which each print of each of the seven editions was hand-activated by the artist with a blue or red dye to foreground the featured (nipple, genital, aural) concern. Organised thematically, the prints move you through expressive visualisations of familiar Bourgeois signage: hair and breasts (how she loved hers!); tendrils and roots (nature served as her private religion); spirals (her search for a centre); and family (love, hate, complicated.) A culmination of sorts, the series of seven drypoints from Ode à Ma Mère (1995) floats fantasies surrounding pregnancy, birth, lactation and predation whose emotional intensity has eluded the best of her imitators.
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