Femme Maison

Cat. No. 548.2

Femme Maison

State/Variant:
Version 2 of 2, only state
Date:
1984
Themes
Architecture, Body Parts, Figures
Techniques
Photogravure
Support:
Smooth, wove paper
Dimensions:
plate: 10 1/16 x 4 7/16" (25.6 x 11.2 cm); sheet: 19 3/16 x 14 7/8" (48.7 x 37.8 cm)
Signature:
Not signed
Publisher
unpublished
Printer
Iris Editions
Edition:
7 known impressions of version 2, only state, outside the edition
Edition Information:
Proof before the reprinting and editioning of version 2 in 1990.
Impression:
Not numbered
Background:
This composition appeared first in an ink on linen work of 1946-47, and was then used for an exhibition brochure for "Louise Bourgeois: Paintings" on view at Norlyst Gallery, New York from 10/28-11/8/1947. The composition was also reproduced on the cover of Lucy Lippard, "From the Center: Feminist Essays on Women's Art," (New York: Dutton, 1976); and for an exhibition poster for "‘Louise Bourgeois Sculpture/The Prints of Louise Bourgeois" at the Museum of Modern Art, Oxford, on view 10/15-12/31/1995.
Curatorial Remarks:
Iris Editions was the imprint of Deli Sacilotto, a master printer who specialized in the photogravure technique. Bourgeois met Sacilotto through mutual friends and established a warm relationship with him. They worked together on projects in the early 1980s, and then again later, when Sacilotto joined Graphicstudio in Tampa, Florida and encouraged the artist to create the multiple, “Spider Home” (cat. no. 15).
Former Cat. No.:
W & S 75
Descriptive Title:
English translation: "Woman House"
Description:
Photogravure
Inscription:
Impressions of version 2 that are not illustrated include the following inscriptions: "For Bob, April 7, 84" and "To Kay, / affectionately / Oct 84."
State Changes and Additions:
Changes from version 1: composition enlarged and transferred to new matrix with added belly button, in photogravure.
Artist’s Remarks:
"I consider this perfect... it brings the personal together with the environment... it is a symbiosis of one with the universe... it is a kind of acceptance." The figure "is serene... it doesn't mind." But Bourgeois added, "There is a sexual loneliness. She is dignified, but she is alone... she has no companion. The little hand is trying to call for help. She is not sexual at all. Her head does not know that she is naked. She has no hair or bosom... they are occupied by work." (Quote cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 148.)
Bibliography:
Quinn, Bridget, with illustrations by Lisa Congdon. "Broad Strokes: 15 Women Who Made Art and Made History (in that order)." San Francisco: Chronicle Books, 2017.

The essay on Bourgeois describes how Quinn encountered "Femme Maison" on the cover of Lucy Lippard's book "From the Center: Feminist Essays on Women's Art". Quinn elaborates on this composition, as well as other key works from Bourgeois's ouevre.
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
466.1993
This Work in Other Collections:
Spencer Museum of Art, The University of Kansas, Lawrence
Museum of Fine Arts, Boston
Rowan University Art Gallery, Sylvia Sleigh Collection, Glassboro, NJ
© The Easton Foundation/VAGA at ARS, NY

Femme Maison

1947; 1984; reprinted and published 1990

Source

1946-1947

Femme Maison

Source

1947

Femme Maison
First Version
Femme Maison
Second Version
Femme Maison
Femme Maison
Femme Maison

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Topiary
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Femme Maison
Femme Maison
Femme Maison
Femme Maison
Femme Maison
Femme Maison
Femme Maison
Femme Maison