Cat. No. 990.2/II, variant 2
Plate 2 of 11, from the illustrated book, He Disappeared into Complete Silence, second edition
- State/Variant:
- Version 2 of 3, state II of II, variant
- Date:
- 1990
- Alternate Title:
- 2 Abandoned Skyscrapers; Les Maisons Solitaires (The Solitary Houses); Two Figures
- Themes
- Architecture
- Techniques
- Engraving
- Support:
- Smooth, wove paper
- Dimensions:
- plate: 6 15/16 x 5 7/16" (17.6 x 13.8 cm); sheet: 14 15/16 x 11 3/16" (38 x 28.4 cm)
- Signature:
- Not signed
- Publisher
- unpublished
- Printer
- Gravure (see Background)
- Edition:
- 8 known impressions of version 2, state II
- Edition Information:
- Proof before the editioning of version 3, state IV in the second edition.
There are 2 additional known impressions of this state in MoMA's Collection (Accession Numbers: 1289.2008 and 1286.2012). They are not illustrated due to their similarity to other impressions of this state in the Evolving Composition Diagram below. - Impression:
- Not numbered
- Background:
- Bourgeois issued the first edition of “He Disappeared into Complete Silence” in 1947. (See cat. no. 1228.) At that time, while actively working in printmaking at the Atelier 17 workshop, she decided to create an illustrated book edition with hopes of making her work more widely known. As it turned out, the book was not a success and Bourgeois never completed the announced edition of 54 examples. It frustrated her that she had never finished the project and, much later, in the early 1980s, she began efforts to reissue the book.
Bourgeois could not locate the printing plates for the nine illustrations, so she set about producing new ones. She worked first, in 1984, with printer Deli Sacilotto, of Iris Editions, New York, to create photogravures using 1947 impressions of Plates 1, 3, and the “Alternative Plate.” Then, in 1990, she created engraved versions of Plates 2 and 6 with the assistance of Christian Guérin of Gravure, New York. First, though, in order to determine whether Guérin’s engraving was suitable, she asked him to engrave two similar compositions. (See “Atlantic Avenue: Transparent Houses” [cat. nos. 1054.1, .2, .3].)
In 1993, Bourgeois finally turned the project over to printer Felix Harlan of Harlan & Weaver, New York, with whom she had begun to work on a regular basis. Harlan would ultimately serve as both printer and coordinator of the second edition. He started out by making reprints of some of the 1983 photogravures created with Sacilotto, and the 1990 engravings created with Guérin. In addition, since by then Bourgeois had located three of the original printing plates from the 1940s (two versions of Plate 3 and one version of Plate 4), Harlan made reprints from those, but they were too distressed for use in a future edition. He also attempted to remake Plates 5, 8, and 9 in drypoint and/or etching. Finally, Bourgeois decided to work with photogravure as the starting-off point for all the compositions in the book, in order to keep the plates as close as possible to those of the 1947 edition. In 1995, new photogravure plates were made by Renaissance Press from photographs of the first edition in the New York Public Library (cat. no. 1228, Example 12). Working with Harlan, Bourgeois ultimately re-worked these photogravure plates with engraving, also adding aquatint, drypoint, scorper and watercolor additions in some instances.
The 1947 first edition of “He Disappeared into Complete Silence” includes “vintage” examples issued in 1947 or thereabouts, as well as “assembled” examples that Bourgeois compiled in the 1980s from prints and texts that remained in her possession. Some of the “assembled” examples, including the one in the New York Public Library, have ten plates rather than the standard nine plates. The tenth plate is a composition called “Alternative Plate” for cataloguing purposes. The second edition includes this “Alternative Plate,” as well as an entirely new eleventh plate titled, “Spider.”
Bourgeois worked intermittently on this project for over a decade, with the second edition appearing in 2005 as a benefit publication for the Department of Prints and Illustrated Books, The Museum of Modern Art, New York. In addition to eleven plates, the book includes text pages from 1947 that had remained with Bourgeois, as well as a new table of contents, foreword, and colophon. The housing was constructed to match that of the 1947 first edition. - Curatorial Remarks:
- Bourgeois admired the printing facilities of the Gravure workshop and also felt a personal rapport with the owner and master printer, Christian Guérin. Guérin helped the artist develop plates for several important projects in the early 1990s.
- Former Cat. No.:
- W & S 30.2
- Description:
- Engraving, with light brown chine collé
- State Changes and Additions:
- Changes from version 1: composition transferred to new plate in engraving.
Changes from version 2, state I, in engraving: left structure further developed. - Artist’s Remarks:
- This scene is "peaceful, even though there is really no point of contact between the two.... The left does not show the total self-confidence that the right does. The right is more perfect. The right is moi, the left is you." (Quote cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 78.)
- MoMA Credit Line:
- Gift of the artist
- MoMA Accession Number:
- 393.1993
Version 2 of 3, state II of II, variant
1990
Plate 2, from the illustrated book, He Disappeared into Complete Silence
1947-2005
Illustrated Book
1947
Illustrated Book
2005
Related Works in the Catalogue
Related Works in Other Mediums
Figure
1954
Figure
1954
Medium: Wood, paint, stainless steel, and nails
Dimensions: 47 1/4 x 12 x 12" (120 x 30.6 x 30.6 cm)
© The Easton Foundation/VAGA at ARS, NY
Pillar
1949-1950
Pillar
1949-1950
Medium: Painted bronze and stainless steel
Dimensions: overall: 63 1/4 × 12 × 12" (160.7 × 30.5 × 30.5 cm)
© The Easton Foundation/VAGA at ARS, NY
Memling Dawn
1951
Memling Dawn
1951
Medium: Wood, paint, and stainless steel
Dimensions: overall: 67 1/4 x 15 x 15" (170.8 x 38.1 x 38.1 cm)
© The Easton Foundation/VAGA at ARS, NY
Femme Maison
1945-1947
Femme Maison
1945-1947
Medium: Oil and ink on linen
Dimensions: canvas: 36 x 14" (91.4 x 35.6 cm)
© The Easton Foundation/VAGA at ARS, NY
Untitled
c. 1946
Untitled
c. 1946
Medium: Ink and charcoal on tracing paper
Dimensions: sheet: 9 x 7 1/4" (22.9 x 18.4 cm)
© The Easton Foundation/VAGA at ARS, NY
Untitled
1946
Untitled
1946
Medium: Oil on canvas
Dimensions: canvas: 44 × 22" (111.8 × 55.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Prison & Ladder
1947
Prison & Ladder
1947
Medium: Ink on paper
Dimensions: sheet: 10 5/8 x 10" (27 x 25.4 cm)
© The Easton Foundation/VAGA at ARS, NY
Portrait of Jean-Louis
1947-1949
Portrait of Jean-Louis
1947-1949
Medium: Painted bronze, wall piece
Dimensions: overall: 35 × 5 × 4" (88.9 × 12.7 × 10.2 cm)
© The Easton Foundation/VAGA at ARS, NY
Untitled
1945-1947
Untitled
1945-1947
Medium: Oil and charcoal on canvas
Dimensions: canvas: 36 × 13 3/4" (91.4 × 34.9 cm)
© The Easton Foundation/VAGA at ARS, NY
He Disappeared into Complete Silence
1947
He Disappeared into Complete Silence
1947
Medium: Pencil on paper
Dimensions: sheet: 8 1/2 × 5 1/2" (21.6 × 14 cm)
© The Easton Foundation/VAGA at ARS, NY
He Disappeared Dessin Preparatory
1947
He Disappeared Dessin Preparatory
1947
Medium: Pencil on paper
Dimensions: sheet: 8 1/2 × 3 1/2" (21.6 × 8.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Gemor Press
1947
Gemor Press
1947
Medium: Pencil on paper
Dimensions: sheet: 6 × 3 1/8" (15.2 × 7.9 cm)
© The Easton Foundation/VAGA at ARS, NY