Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature

Cat. No. 451/I

Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature

State/Variant:
State I of II
Date:
1997
Themes
Body Parts, Figures, Nature
Techniques
Etching
Dimensions:
plate: 29 13/16 x 21 11/16" (75.8 x 55.1 cm); sheet: 37 7/8 x 26 3/4" (96.2 x 67.9 cm)
Signature:
"LB" lower right margin, pencil.
Publisher
unpublished
Printer
Harlan & Weaver
Edition:
3 known impressions of state I
Edition Information:
Proof before the editioning of state II.
Impression:
Not numbered
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."

The editioned state II of this composition was published as a benefit for the Whitney Museum of American Art, New York.
Curatorial Remarks:
The paper type and plate dimensions of this impression could not be documented because this impression is not in MoMA's Collection and could not be examined in person. The plate dimensions are from the published impression in MoMA's Collection. The sheet dimensions were provided by the Louise Bourgeois Studio.

The compositions for plates 5, 6, 7, and 8 of the “Topiary” portfolio are related and appear to have shared some of the same source drawings and photocopy studies. Known studies are illustrated below in the Evolving Composition Diagram, and as Related Works in the Catalogue, for each plate.
Descriptive Title:
Blue Dress
Description:
Etching
State Changes and Additions:
Matrices:
The progression of this composition, as seen in the Evolving Composition Diagram below, involved 2 plates.

Plate 1: line elements of composition; printed in black.

Plate 2: shading of dress; printed in blue.

Plate 3: shading of bones and shading of neck, leg, and kneecap; printed in pink and blue.

State Changes:
Plate 1 printed alone.
Artist’s Remarks:
Inscribed on the verso of the second source drawing: "Le Moignon sort de la Manche Pliée"

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)
© The Easton Foundation/VAGA at ARS, NY

Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature

1998

Source

1997

Untitled

Source

1997

Untitled

Source

1997

Untitled (Topiary)
States
Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 8 of 9, from the portfolio, Topiary: The Art of Improving Nature

Portfolio

1998

Topiary: The Art of Improving Nature

Related Works in the Catalogue

Untitled, no. 8 of 12, from the portfolio, Anatomy
Wishbone
Untitled, plate 5 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 6 of 9, from the portfolio, Topiary: The Art of Improving Nature
Untitled, plate 7 of 9, from the portfolio, Topiary: The Art of Improving Nature
Henriette
Topiary, plate 20 of 24, from the series, Self Portrait
Untitled (Study for Topiary: The Art of Improving Nature)
Untitled (Study for Topiary: The Art of Improving Nature)
Untitled (Study for Topiary: The Art of Improving Nature)
Untitled (Study for Topiary: The Art of Improving Nature)

Related Works in Other Mediums

Topiary
Topiary
You Ask Me Too Much
Henriette