Louise Bourgeois, born in 1911 in Paris, France, and passed away in 2010 in New York City, the United States of America, is a truly iconic artist, best known for her often monumental sculptures, installations and prints. Her career spans across seven decades, establishing herself as one of the most important artists of the contemporary era.
Her creative process is marked by an introspective reality, rooted in her cathartic re-visitations of early childhood trauma. Occupied with these autobiographical elements, she examines female sexuality, but also jealousy, violence, anxiety, feminism and loneliness. Recurring motifs in Bourgeois’ conceptual and stylistically complex oeuvre, are body parts, houses, cages, and arguably most famously her monumental spiders.
Bourgeois’ multidisciplinary practice encompasses sculpture, installation, drawing, prints, and even works in fabric. She often combines traditional marble or bronze with every day objects. An imbued value enters those objects with her personal symbolism and an act of psychological release, playing upon the powers of association, memory, fantasy and fear.
Career Facts
Born in 1911, Louise Bourgeois would study at nine (!) different institutions in France before moving to New York in 1938. Initially she studied mathematics and geometry at the Sorbonne from 1930. She enjoyed studying something of which the rules are fixed, and can not be altered, bringing peace in her mind. However, when her mother passed away in 1932, she was inspired and switched to studying art in 1932, before graduating at the Sorbonne in 1935.
In Paris, she met the American art historian and professor Robert Goldwater. They married and moved to the United States in ’38, where they would have three sons. In the United States she would continue to study and work her way into the New York art scene. In ’45 she joined the American Abstract Artists group alongside the likes of Barnett Newman and Ad Reinhardt, but was also friends with Jackson Pollock, Mark Rothko or Willem de Kooning.
In 1966, she was included in the seminal exhibition titled Eccentric Abstraction, famously curated by Lucy Lippard at the New York’s Fischbach Gallery. However, the Franco-American female artist would never fit into any box, defying categorization with her mysterious and deeply personal works.
Her husband Robert Goldwater would pass away in 1973, as he would not witness her incredible rise to become a highly established artist during the fall of her career. Her career evolved very slowly, with a breakthrough moment aged 70 in 1982 with a retrospective at the Museum of Modern Art. Major shows followed quickly, participating in Documenta IX in 1992 and representing the United States in 1993 at the 45th Venice Biennale.
Even more, her iconic series of giant spiders titled Maman would only start in 2000, aged 89 (!). In 2001, she was commissioned to fill the Tate Modern’s monumental Turbine Hall, followed by a retrospective in 2007, which travelled the world, encompassing institutions such as the Centre Pompidou in Paris, France; the Guggenheim Museum in New York, the United States of America; the Museum of Contemporary Art in Los Angeles, the United States of America; and the Hirshhorn Museum & Sculpture Garden in Washington D.C., the United States of America.
She would continue to work obsessively with an unseen drive and vision. On May 31, 2010, Louise Bourgeois passed away in the Beth Israel Medical Center in Manhattan. She died of heart failure just a week after finishing her last pieces, aged 98. Today, Louise Bourgeois is widely considered as not only one of the most influential artists of modern and contemporary art, but also as a truly iconic figure with a lasting impact on the world, having touched numerous souls and hearts with her works, but also with her charismatic and intriguing persona.
Portrait of Louise Bourgeois.
Books on Louise Bourgeois
For further reading on Louise Bourgeois, we highly recommend the following monographic publications:
Louise Bourgeois, Ode A Ma Mere – portfolio (9), s.d.. Drypoint – 30 × 30 cm. Courtesy Composition Gallery.
Louise Bourgeois, Cell (Eyes & Mirrors) 1989-93., 1989-1993
Steel, limestone and glass – variable dimensions. Collection Tate.
Louise Bourgeois, Cell III, 1991. Dimensions unknown. Collection Guggenheim Bilbao.
Louise Bourgeois, Give or Take II, 1991
Bronze
2 4/5 × 9 3/10 × 9 2/5 in
7 × 23.5 × 24 cm. Collection Belvedere Museum, Vienna. Louise Bourgeois, Cleavage, 1991.
Marble – dimensions unknown. Courtesy Seoul Auction.
Louise Bourgeois, Homely Girl, A Life (MoMA 926-935), 1992. The complete set of 10 drypoints, on Somerset paper, with full margins. – 52.1 × 38.1 cm. Courtesy Phillips.
Louise Bourgeois, Needle (Fuseau), 1992. Steel, flax, mirror and wood – 276.9 × 256.5 × 142.2 cm. Collection Song Art Museum, Beijing.
Louise Bourgeois, Arch of Hysteria, 1993. Bronze, polished patina – 83.8 × 101.6 × 58.4 cm. Courtesy Museum of Modern Art, New York.
Louise Bourgeois, The Nest, 1994. Steel – 256.5 × 480.1 × 401.3 cm. Collection San Francisco Museum of Modern Art (SFMoMA)
Louise Bourgeois, In and Out, 1995. Metal, glass, plaster, fabric, and plastic. Courtesy Garage Museum of Contemporary Art, Moscow.
Louise Bourgeois, Untitled, 1995. Drawing – 10 × 10 cm. Courtesy Miniature Museum Ria and Lex Daniels, Den Haag.
Louise Bourgeois, Untitled (No. 2), 1996. Pink marble on steel base – 66 × 78.7 × 63.5 cm. Collection the Metropolitan Museum of Art, New York.
Louise Bourgeois, Single III, 1996. Dimensions unknown. Courtesy Fondazione Prada.
Louise Bourgeois, Cell (Clothes), 1996. Dimensions unknown. Courtesy Fondazione Prada.
Louise Bourgeois, Hamlet and Ophelia, 1997. Lithograph in colors on wove paper (framed). Edition of 50. Courtesy Rago Auctions.
Louise Bourgeois, Spider, 1997. Steel, tapestry, wood, glass, fabric, rubber, silver, gold, and bone – 449.6 × 665.5 × 518.2 cm. Courtesy Museum of Modern Art, New York.
Louise Bourgeois, Passage Dangereux, 1997. Metal, wood, tapestry, rubber, marble, steel, glass, bronze, bones, flax and mirrors – 264.2 × 355.6 × 876.3 cm. Courtesy Guggenheim Museum Bilbao.
Louise Bourgeois, Small Eye #3, 1997. Polished aluminum and lead – 10.2 × 14 × 12.7 cm. Courtesy Wright.
Louise Bourgeois, Spider, 1997. Steel, tapestry, wood, glass, fabric, rubber, silver, gold and bone – 449.6 × 665.5 × 518.2 cm. Courtesy Song Art Museum, Beijing.
Louise Bourgeois, Cell VII, 1998. Metal, glass, fabric, bronze, steel, wood, bones, wax and thread – 207 × 221 × 210.8 cm. Courtesy Guggenheim Museum, Bilbao.
Louise Bourgeois, Untitled, 2001. Bronze with silver nitrate patina, in 3 parts
Edition 1/8 + 2AP. Courtesy Phillips.
Louise Bourgeois, Couple, 2001. Fabric, hanging piece – 8.3 × 15.2 × 16.5 cm. Courtesy Song Art Museum, Beijing.
Louise Bourgeois, My Hand, 2002. Color lithograph on music paper – 27.31 × 21.91 cm. Edition of 20. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Ear, 2002. Urethane resin multiple – 11.4 × 20.3 × 23.5 cm. Courtesy Christie’s.
Louise Bourgeois, Cell XXVI (detail), 2003
Steel, fabric, aluminum, stainless and wood – 252.7 × 434.3 × 304.8 cm. Courtesy Guggenheim Museum, Bilbao.
Louise Bourgeois, Untitled, 2003. 160 × 53 × 41 cm. Courtesy Whitechapel.
Louise Bourgeois, Lady in waiting, 2003. Tapestry, thread, stainless steel, steel, wood and glass – 208.3 × 110.5 × 147.3 cm. Courtesy Guggenheim Museum, Bilbao.
Louise Bourgeois, The Couple, 2003. Dimensions unknown. Courtesy Moderna Museet, Stockholm.
Louise Bourgeois, Together, 2004. Soft-ground etching with extensive hand-coloring in watercolor, gouache and colored pencil, with additions in graphite, on handmade paper, the full sheet flush-mounted to heavy buff card (as issued). Courtesy Phillips.
Louise Bourgeois, Be Calm, 2005. Screenprint and machine embroidery on tea towel – 69 × 48 cm. Edition of 1000. Courtesy Forum Auctions.
Louise Bourgeois, Femme, 2006. Drypoint, with hand additions, on fabric – 26 × 15.9 cm. Courtesy Museum of Modern Art, New York.
Louise Bourgeois, Cell (Black Days), 2006. Steel, fabric, marble, glass, rubber, thread and wood – 304.8 × 397.5 × 299.7 cm. Courtesy Song Art Museum, Beijing.
Louise Bourgeois, Untitled, 2006. Ink on fabric and fabric collage – 39.4 × 39.7 cm. Courtesy Phillips.
Louise Bourgeois, Cell (The last climb), 2008. Steel, glass, rubber, thread and wood – 384.8 × 400.1 × 299.7 cm. Courtesy Guggenheim Museum, Bilbao.
Louise Bourgeois, Louise Bourgeois, 2008. Photogravure with chine-colle, after a photograph by printer Felix Harlan, on Somerset Velvet Radiant White paper – 38.7 × 41.9 cm. Edition of 65. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Beautiful Night, 2014. 9-color lithograph on music paper, signed and numbered – 53 × 70 cm. Edition 40/50. Courtesy Uitstalling, Genk.
Louise Bourgeois, The Curved House, 2010. Carved pink marble – 12.1 × 21 × 7 cm. Edition of 12. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, I am Afraid, 2009. Woven cotton – 110.5 × 182.9 cm. Edition of 15. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Janus, 2008. Drypoint printed with tone on fabric with stitched initials –
113 × 53.3 cm. Edition of 20. Courtesy Marlborough London.Louise Bourgeois, The Feeding, 2007
Gouache on paper – 50.9 × 65 × 3.8 cm. Courtesy Xavier Hufkens.
Louise Bourgeois, The Family, 2007. Archival dyes on linen – 44.5 × 33 cm. Edition of 9 + 4AP. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Girl with Hair, 2007-2009. Archival dye printed on silk taffeta – 60.3 × 44.5 cm. Edition of 12. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Self Portrait, 2007. Etching and dry point on paper – 22.9 × 22.9 cm. Edition 11/25. Courtesy Galerie Simon Blais.
Louise Bourgeois, Toi et Moi, 2006. Silkscreen on woven fabric – 20.1 × 27.4 cm. Edition 2/25 AP. Courtesy Alpha 137 Gallery.
Louise Bourgeois, The Ladders, 2006. Engraving and aquatint – 50.8 × 39 cm. Edition of 30. Courtesy Marlborough London.
Louise Bourgeois, Untitled, 2005. Fabric – 56.8 × 46.4 × 34 cm. Courtesy Hauser & Wirth.
Louise Bourgeois, We Love You, 2005. Welded steel wall plaque – 8.6 × 13.7 cm. Edition of 6. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, The Reticent Child, 2004. Suite of three drypoints on Hahnemuehle. Copperplate bright white paper, each with additional hand coloring – 43.2 × 114.3 cm. Edition of 8 unique variants. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, La Réparation (portfolio), 2003. Portfolio with 7 compositions: all drypoints, 2 with engraving, 2 with engraving and aquatint –43.2 × 38.1 cm. Edition of 35. Courtesy Marlborough New York.
Louise Bourgeois, Untitled, 2001. Pink fabric and aluminum – 177.8 × 61 × 61 cm. Courtesy Cheim & Read.
Louise Bourgeois, Easton, Connecticut, USA, 2001. Steel and wood – 18.4 × 42.5 × 19.1 cm. Edition of 6 + 1 AP. Courtesy Michaeli Gallery.
Louise Bourgeois, Couples, 2001. Color lithograph on Arches paper – 111.8 × 66 cm. Edition of 100. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Eight in Bed, 2000. Embossed lithograph – 52.1 × 59.7 cm. Edition of 40. Courtesy Marlborough New York.
Louise Bourgeois, Topiary : The Art of Improving Nature, 1998. Suite of nine copperplate etchings with drypoint and aquatint, printed in color on Magnani Incisione paper, and one colophon page, in silk covered portfolio – 99.7 × 70.5 cm. Edition of 28. Courtesy Xavier Hufkens.
Louise Bourgeois, Untitled, 1998-2014. Hologram – 33 × 27.9 cm. Courtesy Xavier Hufkens.
Louise Bourgeois, The Mirror, 1998. Cast and polished aluminum, wall piece – 228 × 91.4 × 106.7 cm. Edition of 6. Courtesy Kukje Gallery.
Louise Bourgeois, Henriette, 1998. Wooden marionette’s leg, lithograph, metal key –115.6 × 90.2 cm. Edition of 50. Courtesy Malin Gallery.
Louise Bourgeois, Le Lit Gros Édredon (with lips), 1997. Soft ground etching, aquatint, drypoint, engraving, and roulette on Somerset paper – 63.6 × 80 cm. Edition of 100 + 15AP. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, I Have Been to Hell and Back, 1996. Cotton – 31 × 31 cm. Edition of 1000. Courtesy Restelli Art Co.
Louise Bourgeois, Stamp of Memories II, 1994. Drypoint and relief – 64.8 × 43.2 cm. Edition 5/5P.P./10. Courtesy Marlborough New York.
Louise Bourgeois, Champfleurette, 1994. Drypoint, etching and aquatint – 45.8 × 63.5 cm. Edition of 22. Courtesy Marlborough London.
Louise Bourgeois, Poids, 1993. Steel, stainless steel, cast iron and glass – 231.1 × 81.3 × 303.5 cm. Courtesy Kukje Gallery.
Louise Bourgeois, Homely Girl, A Life, 1992. Two-volume illustrated book with ten drypoints and eight photolithographs – 30.8 × 23.5 × 2.9 cm. Edition of 100. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Sainte Sébastienne, 1992. Drypoint on Somerset Satin paper – 119.4 × 94 cm. Edition of 50. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Fabrication I, 1989-1994. Lithograph, with collage, and white and red gouache additions on smooth, wove Fabriano paper – 27.9 × 21.6 cm. Edition of 40. Courtesy Carolina Nitsch Contemporary Art.
Louise Bourgeois, Untitled, 1988. Offset lithograph on paper – 23.9 × 21.1 cm. Courtesy EHC Fine Art.
Louise Bourgeois, Untitled, 1988. Paper – 24.1 × 21.1 cm. Courtesy EHC Fine Art.
Louise Bourgeois, Spit or Star, 1986. Watercolor and pencil on paper – 67.9 × 55.2 × 3.8 cm. Courtesy Hauser & Wirth.
Louise Bourgeois, Nature Study #1, 1985. Bronze, dark and polished patina – 17.8 × 48.3 × 17.8 cm. Courtesy Cheim & Read.
Louise Bourgeois, Pulse and Fever, 1976. Ink and gouache on paper – 20.3 × 30.5 cm. Courtesy Simoes de Assis.
Louise Bourgeois, Untitled (Germinal), 1967-1995. Bronze, dark and polished patina – 16.5 × 21.6 × 21.6 cm. Courtesy Tina Kim Gallery.
Louise Bourgeois, Figure, 1960. Bronze, black patina with highlights – 37.5 × 11.4 × 15.2 cm. Edition of 6. Courtesy Xavier Hufkens.
Louise Bourgeois, Pillar, 1949-50. Bronze – 160.7 × 30.5 × 30.5 cm. Courtesy Cheim & Read.
Louise Bourgeois, Untitled, 1947. Ink on Strathmore drawing paper – 35.6 × 27.9 cm. Courtesy Peter Blum Gallery.
Julien Delagrange (b. 1994, BE) is an art historian, contemporary artist, and the director of CAI and CAI Gallery. Previously, Delagrange has worked for the Centre for Fine Arts (BOZAR) in Brussels, the Jan Vercruysse Foundation, and the Ghent University Library. His artistic practice and written art criticism are strongly intertwined, examining contemporary art in search of new perspectives in the art world.
