Cat. No. 444-452
Topiary: The Art of Improving Nature
- Date:
- 1998
- Themes
- Body Parts, Figures, Nature, Objects
- Techniques
- Aquatint, Drypoint, Etching
- Support:
- Smooth, wove Magnani Incisione paper
- Dimensions:
- sheet (each): 39 x 28 1/16" (99 x 71.2 cm)
- Signature:
- "Louise Bourgeois" lower right margin each plate, pencil.
- Publisher
- Julie Sylvester-Cabot , Whitney Museum of American Art Editions
- Printer
- Harlan & Weaver
- Edition:
- 28; plus 12 A.P., 3 P.P., 1 H.C., 1 B.A.T.
- Edition Information:
- Pencil additions appear on plates 3, 4, and 8 of this portfolio. Another portfolio (A.P. 1/12) has comparable pencil additions on plates 3 and 4. It is not known whether pencil additions occur on plates across the edition.
- Impression:
- A.P. 5/12
- Background:
- According to Bourgeois’s assistant Jerry Gorovoy, topiary work interested Bourgeois because the cutting and healing of the plant makes the tree stronger. He also points out the portfolio's connection to Bourgeois’s sister, Henriette, who had a condition that caused stiffness in her leg. Bourgeois referred to this as, "in effect, a wooden leg."
Print publisher Julie Sylvester-Cabot founded the Whitney Museum of American Art Editions in 1996, with the purpose of raising funds to be used for acquisitions. The “Topiary” portfolio had its debut at the Whitney in a small 1998 exhibition that also included Bourgeois's 1985 sculpture titled, “Henriette.” - Description:
- Portfolio with 9 compositions: all with etching and drypoint, 5 with aquatint, and 3 with hand additions
- Housing:
- Orange silk-wrapped portfolio cover with pink satin ribbon ties, lined with ivory wove paper.
- Benefit Work:
- For Whitney Museum of American Art, New York
- Artist’s Remarks:
- Written on a loose sheet, c. 1990s:
“Topiary
The trainer, the teacher, the carver, the butcher
To reject (cut off) and be moral about it
That is the fun
To nurture and train to full potential (valuable, useful)
I am going to cut (reject) everything in sight because I did not get what I wanted
What
To be loved by 1, 2, 3, 4
c’est la peur […]”
(The Easton Foundation: LB-0050) - Installation Remarks:
- The prints in this portfolio can be shown as a group, or individually.
- Bibliography:
- Manchester, Elizabeth. “Louise Bourgeois: Tree with Trunk, 1998.” Tate Modern website, 2003. www.tate.org.uk/art/artworks/bourgeois-tree-p78621/text-summary. Last accessed November 7, 2014.
This article connects themes in the portfolio to recurring themes in the whole of Bourgeois's artwork, such as amputation and mutilation, the use of trees and plants as a metaphor for the human psyche, and the emotional significance of color. - MoMA Credit Line:
- Gift of the artist
- MoMA Accession Number:
- 416.1999.1-9
- This Work in Other Collections:
- Albright-Knox Art Gallery, Buffalo, NY
Tate Modern, London
Whitney Museum of American Art, New York
Yale University Art Gallery, New Haven, CT
From the portfolio
Untitled, plate 1 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 1 of 9, from the portfolio,<i> Topiary: The Art of Improving Nature</i>
1998
Untitled, plate 2 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 2 of 9, from the portfolio,<i> Topiary: The Art of Improving Nature</i>
1998
Untitled, plate 3 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 3 of 9, from the portfolio,<i> Topiary: The Art of Improving Nature</i>
1998
Untitled, plate 4 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 4 of 9, from the portfolio, <i>Topiary: The Art of Improving Nature</i>
1998
Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 5 of 9, from the portfolio,<i> Topiary: The Art of Improving Nature</i>
1998
Untitled, plate 6 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 6 of 9, from the portfolio,<i> Topiary: The Art of Improving Nature</i>
1998
Untitled, plate 7 of 9, from the portfolio, Topiary: The Art of Improving Nature
1998
Untitled, plate 7 of 9, from the portfolio,<i> Topiary: The Art of Improving Nature</i>
1998
Related Works in the Catalogue
Related Works in Other Mediums
Topiary III
1999
Topiary III
1999
Medium: Steel, fabric, beads, and wood
Dimensions: overall: 27 x 20 x 21" (68.6 x 50.8 x 53.3 cm)
© The Easton Foundation/VAGA at ARS, NY
Topiary
1997
Topiary
1997
Medium: Pencil and ink on paper
Dimensions: sheet: 12 x 9" (30.5 x 22.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Topiary
1998
Topiary
1998
Medium: Fabric and steel
Dimensions: overall: 19 1/2 x 20 x 11" (49.5 x 50.8 x 27.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Les Lignes de Constructions Sont Invisibles
1997
Les Lignes de Constructions Sont Invisibles
1997
Medium: Ink and charcoal on paper
Dimensions: sheet: 15 x 11 1/4" (38.1 x 28.6 cm)
© The Easton Foundation/VAGA at ARS, NY
Untitled
1997
Untitled
1997
Medium: Ink, watercolor, and gouache on paper
Dimensions: sheet: 11 1/4 x 10 5/8" (28.6 x 27 cm)
© The Easton Foundation/VAGA at ARS, NY
Topiary
2005
Topiary
2005
Medium: Bronze, silver nitrate patina
Dimensions: overall: 11 5/8 x 4 1/4 x 3 1/2" (29.5 x 10.8 x 8.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Topiary
2005
Topiary
2005
Medium: Bronze, silver nitrate patina
Dimensions: overall: 14 3/4 x 4 x 8" (37.5 x 10.2 x 20.3 cm)
© The Easton Foundation/VAGA at ARS, NY
Topiary
1998
Topiary
1998
Medium: Ink, pencil, and correction fluid on paper
Dimensions: sheet: 11 1/2 x 8 1/2" (29.2 x 21.6 cm)
© The Easton Foundation/VAGA at ARS, NY
Henriette
1985
Henriette
1985
Medium: Bronze
Dimensions: overall: 60 x 13 x 12" (152.4 x 33 x 30.5 cm)
© The Easton Foundation/VAGA at ARS, NY