Cat. No. 494, study 4
Untitled (Study for Untitled, plate 5 of 5, from the illustrated book, and plate 5 of 7, from the portfolio, Metamorfosis)
- State/Variant:
- Study
- Date:
- 1998
- Alternate Title:
- Seven in a Bed
- Themes
- Architecture, Figures, Objects
- Techniques
- Other Techniques
- Support:
- Smooth paper
- Dimensions:
- sheet: 11 x 8 1/2" (27.9 x 21.6 cm)
- Signature:
- Not signed
- Publisher
- unpublished
- Edition:
- 7 known photocopy studies
- Edition Information:
- The additional known studies are in MoMA's Collection (Accession Numbers: 489.2010, 491.2010, and 492.2010). They are not illustrated, due to their similarity to the studies seen in the Evolving Composition Diagram below.
- Impression:
- Not numbered
- Background:
- “Metamorfosis” is a collaboration initiated by Maria Fluxà, a Spanish gallery owner and collector. Fluxà first encountered Bourgeois’s work at the 1982 MoMA retrospective and felt a particular emotional connection to the “Femme Maison.” She then began enthusiastically collecting Bourgeois’s work, which she displayed in her gallery, Lluc Fluxà, in Palma de Mallorca (Spain). Taking inspiration from Bourgeois's themes of memory, identity, and trauma, Fluxà also staged a performance at her gallery titled “Götterdämmerung” that dealt with her own upbringing.
In 1993, Fluxà met Bourgeois at the MoMA opening of a Joan Miró exhibition, introducing herself as an admirer and collector. She later visited the artist, which led to discussions about a possible collaboration between the two.
Bourgeois had a sympathetic response to Fluxà’s difficult relationship with her father, a problem she shared. After meeting over the next several years, she agreed to participate in a collaborative work that became the illustrated book entitled, "Metamorfosis." Here, Fluxà creates a fusion of words and imagery that conflates her own identity with that of the artist. Bourgeois allowed images of her work to contribute to this fusion, and also created five prints especially for the volume. The book was published by Galerie Lelong, Paris, in 1999. For a deluxe edition, the volume was accompanied by a portfolio with two additional prints, making a total of seven compositions created by Bourgeois in conjunction with this project.
In 2005, Fluxà and Dolors Caballero organized the exhibition and catalogue, "Louise Bourgeois: Repairs in the sky" at the Pilar and Joan Miró Foundation, in Mallorca. In 2008, Fluxà and Caballero also organized "La Sage Femme: Louise Bourgeois," an exhibition and catalogue of Fluxà's collection of Bourgeois works, at Sala Espacio AV, in Murcia (Spain). - Curatorial Remarks:
- Bourgeois made several studies to aid in the development of this composition. Over the course of three years, she photocopied various states as the plate evolved, as seen in the Evolving Composition Diagram below.
The inscriptions seen in this photocopy are written in the artist's hand on the original print. Without being able to examine the print in person, the original is believed to be an impression of state IX with hand additions.
The composition "Eight in Bed," seen in Related Works in the Catalogue, has a close relationship to this Untitled composition. In fact, it appears that photocopy studies of Untitled, plate 5 were used to create "Eight in Bed." The two compositions could have been catalogued as Versions in one Evolving Composition Diagram. They were catalogued separately because Untitled, plate 5, is from an illustrated book, making it difficult to present the two compositions as one. - Description:
- Photocopy
- Other Remarks:
- According to Bourgeois's assistant, Jerry Gorovoy, when Bourgeois was a child, she and her siblings, and the two cousins who lived with the family, would join her parents in bed on Sunday mornings.
Gorovoy also notes that the beds seen throughout "Metamorfosis" stem not only from their symoblic resonance for Bourgeois but also from her interest in their geometric and architectural forms. The bed motif is found in Bourgeois's drawings, sculptures, and installations, as well as in her prints (see Related Works in Other Mediums). - MoMA Credit Line:
- Gift of the artist
- MoMA Accession Number:
- 490.2010
Study
1998
Untitled, plate 5, from the illustrated book and the portfolio, Metamorfosis
1996-1999
Source
1996
Seven in a Bed
1996
Seven in a Bed
1996
Medium: Pencil and ink on paper
Dimensions: sheet: 12 x 9" (30.5 x 22.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Related Works in the Catalogue
Related Works in Other Mediums
Cell I
1991
Cell I
1991
Medium: Painted wood, fabric, metal, and glass
Dimensions: overall: 83 x 96 x 108" (210.8 x 243.8 x 274.3 cm)
© The Easton Foundation/VAGA at ARS, NY
Red Room (Parents)
1994
Red Room (Parents)
1994
Medium: Wood, metal, rubber, fabric, marble, glass, and mirror
Dimensions: overall: 97 1/2 x 168 x 167" (247.7 x 426.7 x 424.2 cm)
© The Easton Foundation/VAGA at ARS, NY
In and Out
1997
In and Out
1997
Medium: Welded steel and lead
Dimensions: overall: 17 1/8 x 32 1/2 x 24 1/8" (43.5 x 82.6 x 61.3 cm)
© The Easton Foundation/VAGA at ARS, NY
Untitled
1996
Untitled
1996
Medium: Ink and pencil on paper
Dimensions: sheet: 9 x 12" (22.9 x 30.5 cm)
© The Easton Foundation/VAGA at ARS, NY
Seven in Bed
1996
Seven in Bed
1996
Medium: Ink and charcoal on paper
Dimensions: sheet: 12 x 9" (30.5 x 22.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Seven in Bed
1996
Seven in Bed
1996
Medium: Ink and charcoal on paper
Dimensions: sheet: 12 x 9" (30.5 x 22.9 cm)
© The Easton Foundation/VAGA at ARS, NY
Seven in Bed
2001
Seven in Bed
2001
Medium: Fabric and stainless steel
Dimensions: overall: 11 1/2 x 21 x 21" (29.2 x 53.3 x 53.3 cm)
© The Easton Foundation/VAGA at ARS, NY
The Chorus Line
1997
The Chorus Line
1997
Medium: Ink, pencil, and white correction fluid on paper
Dimensions: sheet: 10 x 9 1/4" (25.4 x 23.5 cm)
© The Easton Foundation/VAGA at ARS, NY