Cat. No. 1071/triptych 2, variant 6

Triptych for the Red Room

State/Variant:: Component A: version 2 of 2, state VII of VIII; Component B: version 3 of 3, state VI of VI; Component C: version 2 of 2, state IX of IX
Date:: 1994

Themes: Figures, Motherhood & Family
Techniques: Aquatint, Drypoint, Engraving
Support:: Paper (3 sheets)
Dimensions:: plate (a): 18 15/16 × 23 13/16" (48.1 × 60.5 cm); sheet (a): 27 3/4 × 37 1/2" (70.5 × 95.3 cm); plate (b): 18 13/16 × 35 9/16" (47.8 × 90.4 cm); sheet (b): 27 3/4 × 42" (70.5 × 106.7 cm); plate (c): 18 13/16 × 29 5/16" (47.8 × 74.4 cm); sheet (c): 27 3/4 × 32 1/4" (70.5 × 81.9 cm)
Signature:: "Louise Bourgeois" lower right margin of each sheet, pencil.
Publisher: unpublished
Printer: Harlan & Weaver
Edition:: 6 known variant triptychs, outside the final edition
Edition Information:: This composition was issued as 4 separate editions:

Single sheet: “Arched Figure”: 50; plus 10 P.P. (numbered I/X-X/X)

Diptych: “Diptych for the Red Room”: 3

Triptych 1: “Arch of Hysteria” (photocopy; reduced size): 3 completed, of an announced edition of 7

Triptych 2: “Triptych for the Red Room”: 30; plus 10 A.P.

In the evolution of “Triptych for the Red Room,” the artist worked with impressions of components A, B, and C at various states. She also combined impressions at various states to create 6 unnumbered triptychs: three signed, with hand additions; two signed, with no hand additions; one unsigned, with no hand additions.

The Evolving Composition Diagram includes all works described above.

There are 4 printer's studies in MoMA's Collection (Accession Numbers: 470.2010, 471.2010, 472.2010, 473.2010). They are not illustrated here.
Impression:: Not numbered
Background:: "Triptych for the Red Room" was first exhibited in 1994 at Peter Blum Gallery with Bourgeois' related dual installation pieces, "Red Room (Parents)" and "Red Room (Child)" (see Related Works in Other Mediums).
Curatorial Remarks:: Catalogue Numbers for the various impressions refer to their location within the Evolving Composition Diagram, rather than to the version or state.
Description:: Aquatint, drypoint, and engraving
State Changes and Additions:: Matrices:
The progression of this composition involved 13 plates as well as photocopy versions of each component. The 13 plates included linear elements of the composition in drypoint and engraving; aquatint shading in the figures’ bodies; and various aquatint backgrounds.

State Changes:
Given the complexity of the development of this composition, the Evolving Composition Diagram is arranged by Component (A, B, and C for each sheet of this 3-sheet composition) and Format (single sheet, diptych and triptych) rather than by State and Version. State and Version changes are described, but specific plates (of the 13 utilized for this composition) are not identified.

(A): Changes from version 2, state VI, by burnishing: stray aquatint removed from edges of adult’s ribcage.

(B): Changes from version 3, state V, by burnishing: stray aquatint removed from arched child’s arms; hatching removed from arched child’s lower ribcage.
Changes from version 3, state V, in drypoint: hatched lines in adult female connected to create vertical lines.

(C): Changes from version 2, state VIII, by burnishing: shading in child’s shoulder partially removed; intersecting lines removed from adult’s right exterior ribcage; stray aquatint removed right side of each figure’s ribs and child’s forehead.
Changes from version 2, state VIII, in drypoint: shading on adult’s stomach reinforced.
Artist’s Remarks:: Inscribed on the source drawing for component C: "Which one are you? Today? / The tall one or the short one / I can be either one. / You have to be / Ready to deal / with a scene / like this. I could not / even carry the bundle"

Chazen Museum of Art, University of Wisconsin-Madison, Elvehjem Museum of Art General Endowment Fund and Alexander and Henrietta W. Hollaendar Endowment Fund purchase, 1995.43a-c© 2019 The Easton Foundation/Licensed by VAGA, NY