Louise Bourgeois (b. 1911)
Louise Bourgeois (b. 1911)

Mortise

Details
Louise Bourgeois (b. 1911)
Mortise
stamped with initials, number and foundry mark 'L.B. 1/6' (on the side of the base)
painted bronze
height: 60 in. (152.4 cm.)
width: 18 in. (45.7 cm.)
depth: 15 in. (38.1 cm.)
Conceived in wood in 1950; cast in bronze at a later date. This work is numbered one from an edition of six.
Provenance
Robert Miller Gallery, New York.
Galeria Ramis Barquet, Monterrey.
Acquired from the above by the previous owner, Monterrey.
Literature
R. Pincus-Whitten, Bourgeois Truth, exh. cat., New York: Robert Miller Gallery, 1982 (another version illustrated).
P. Weiermair, L. Lippard, R. Krauss, et al., Louise Bourgeois. Frankfurt, 1989, p. 72 (another version illustrated).
"Louise Bourgeois, Robert Gober," Parkett, no. 27, 1991, p. 65 (another version illustrated).
C Haenlein, ed., Louise Bourgeois, Hannover, 1994, p. 45, pl. 17 (another version illustrated in color).
M.-L. Bernadac, Louise Bourgeois, Paris, 1995, p. 51 (another version illustrated in color).
B. Catoir and M. J. Jacob, Louise Bourgeois, Cologne, 1999, p. 59 (another version illustrated).
Exhibited
Monterrey, Mexico, Galeria Ramis Barquet, Louise Bourgeois, October-November 1993, p. 32 (illustrated in color).
Monterrey, Museo de Arte Contemporaneo, Escultura de Louise Bourgeois: La Elegancia de la Ironia, June 1995, p. 55, pl. 24 (illustrated).
Monterrey, MARCO; Seville, Centro Andaluz de Arte Contemporaneo, and Mexico City, Museo Rufino Tamayo, Louise Bourgeois, June 1995 -August 1996, p. 55 (illustrated in color).
Madrid, Museo Nacional Centro de Arte Reina Sofia, Louise Bourgeois: Memory and Architecture, November 1999-February 2000, pl. 19 (illustrated).

Lot Essay

While experiencing terrible loneliness and homesickness during the 1940s in New York, Louise Bourgeois shifted naturally from drawing to sculpture in order to rid herself of her past. This new method of expression immediately enabled her to resurrect the people she missed in the form of abstract sculptures, to create a few shadows of the past.

Mortise is one of Bourgeois' earliest works and is an incredible example of the complexity of her creativity. Not only an embodiment of a shadow of the past, Mortise also highlights the deepest aspects of her personality and allows dramatic memories of her childhood to appear.

Mortise was first executed in wood, and the verticality of the clustered pieces of wood evokes the infinite. Despite the difference of their size, when all the pieces of wood are assembled, they create a tension which forces the viewer to contemplate the absolute.

Bourgeois considers color as a subliminal communication stronger than language. The colors here used are very expressive. Red is an affirmation of rebellion, of aggression, a symbol of the intensity of emotions. Black is mourning, regrets, guilt, retreat. The mix of these colors expresses the intensity of her pain.


Fig. 1 David Seidner, Louise Bourgeoius's studio interior, 2000. c The Estate of David Seidner 2001

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