louise bourgeois biography
Bourgeois studied at various academies and artists’ workshops, including the ‘École des Beaux Arts,’ the ‘École du Louvre,’ the ‘Académie de la Grande-Chaumière,’ the ‘Académie Ranson,’ and the ‘Académie Colarossi.’ Observing her work in an art class, French painter-sculptor Fernand Léger remarked that her artistic inclination was more toward three-dimensional presentation and that she was more of a sculptor than a painter.
Louise Bourgeois was a renowned French–American painter and sculptor.
She later married American art historian Robert Goldwater and moved to the U.S. She worked with various artists and presented shows of her creations.
©2020 Artnet Worldwide Corporation. Her parents operated a gallery and restored Medieval and Renaissance tapestry. She stayed with the family, and shortly, Bourgeois realized that her father was having an affair with her. Bourgeois almost immediately investigated the possibilities of wood. Get the latest news on the events, trends, and people that shape the global art market with our daily newsletter. Louise Bourgeois was a prolific 20th century artist who experimented with a wide range of media, materials, subjects and themes; as such, categorizing or situating her work in one distinct artistic movement remains nearly impossible. However, her work was not noticed much during her initial years in the U.S. Much of her early work reflected her distressed childhood. Starting her career as a printmaker, she made a name with her large-scale sculptures and art installations. 1947 (Boston: Barbara Krakow Gallery), Femme Maison 81 (New York: private collection) is no longer a surreal exposé of a female whose head is replaced with her home.
All Rights Reserved. Bourgeois was the first living American artist to have her show at the ‘State Hermitage Museum,’ St. Petersburg (2001). Bourgeois, Louise, Louise Bourgeois: Drawings & Observations, University Art Museum and Pacific Film Archive University of California, 1995. Between 1967 and 1972, Bourgeois often traveled to Pietrasanta, Italy, where she worked using marble and bronze. In 1964, after a gap of 11 years, she had a solo exhibition at the ‘Stable Gallery,’ New York. In 1978, she wrapped students and art historians in white fabric, with attached anatomical parts, for her creation ‘A Banquet: A Fashion Show of Body Parts.’ She presented this piece at ‘Confrontation’ at the ‘Hamilton Gallery of Contemporary Art,’ New York. In 1951, the ‘Museum of Modern Art’ (MoMA), New York, procured her creation ‘Sleeping Figure,’ a wood sculpture showing a defenseless figure incapable of facing the world. The work consists of two bedrooms representing parent and child respectively. In 1978, her sculpture ‘Facets of the Sun’ was installed in Manchester, New Hampshire. Sculptor Louise Bourgeois (American/French, born December 25, 1911–died May 31, 2010) is regarded as one of the most successful female artists during her lifetime. In pursuit of a more liberal and less rigid artistic education, Bourgeois left the school. She was a teacher at public schools in Great Neck, Long Island. She often worked on the terrace of the house. Born in Paris, into a family that restored ancient tapestry, she studied art at various academies in her city. Beginning her artistic practice in her native Paris, Louise Bourgeois was originally associated with Surrealism due to her integration of fantastic elements into her prints and sculptures.
Although Bourgeois will forever be immortalized through a Mapplethorpe portrait of the artist with Fillette in her arms, her oeuvre will exemplify the variety of artistic expressions among 20th-century American sculptors. During the late 1960s, her art portrayed more sexuality, depicted through the man–woman relationship. She joined the ‘Sorbonne’ to study mathematics and geometry.
This was followed by two solo exhibitions, in 1950 and 1953, respectively. Boursier was a Royal Court midwife for many young women in her twenty-six year professional career.
They relate to the aggressiveness and helplessness of the masculine female.
Bourgeois, however, did not like her work to be called “feminist.” Nevertheless, much of her work, such as ‘Femme Maison’ and ‘Arch of Hysteria,’ displayed the feminine form. Between 1932 and 1938 she studied with such prominent artists and philosophers as Ferdnand Léger, Roger Bissiére, and Paul Colin.
1946-1948), and she began to develop a very personal symbolic iconography based upon the events that shaped her life in France. During the early 1970s, she began organizing salons (at her Chelsea home), which she called ‘Sunday, Bloody Sunday.’ At the gatherings, students and fresh artists brought their works for her to review. The family ran a tapestry gallery/workshop below their Paris apartment on the boulevard Saint Germain. She was commissioned by ‘The Tate Gallery of Modern Art’ in 2000, for crafting a 30-foot spider, ‘Maman,’ made of steel, bronze, and marble, for their inaugural installation. In September 1932, her mother died. The Red Rooms is intended to expose moods from her childhood.
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