路易丝·布尔乔亚：我将仇恨转化为爱

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路易丝·布尔乔亚，1911年生于法国巴黎，25岁时开始专注于艺术创作，她以接近于超现实主义的方式进行绘画和版画创作，后来又开始尝试雕塑。

她的创造力真正爆发还是在70岁以后，开始大胆尝试橡胶、石膏等新材料，并恰到好处地将行为、装置等形式融入自己的艺术。

Composite materials

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路易丝·布尔乔亚

Louise Bourgeois

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1947-2006｜WORKS

Spider, 1997

Steel, tapestry, wood, glass

Fabric, rubber, silver, gold and bone

177 × 262 × 204 in; 449.6 × 665.5 × 518.2 cm

Cell (Choisy), 1990-1993

Marble, metal, and glass

120 1/2 × 67 × 95 in; 306.1 × 170.2 × 241.3 cm

Cell (Eyes & Mirrors) 1989-1993

Steel, limestone and glass

Cell (Choisy), 1990-1993

Collection Glenstone

Cell III, 1991

Metal, glass, fabric, bronze, steel, wood

81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm

Cell XXVI (detail), 2003

Steel, fabric, aluminum, stainless and wood

99 1/2 × 171 × 120 in; 252.7 × 434.3 × 304.8 cm

In and Out , 1995

Metal, glass, plaster, fabric and plastic

81 × 83 × 83 in; 205.7 × 210.8 × 210.8 cm

Cell VII, 1998

Metal, glass, fabric, bronze

Steel, wood, bones, wax and thread

81 1/2 × 87 × 83 in; 207 × 221 × 210.8 cm

Red Room (Parents) (detail) , 1994

Wood, metal, rubber, fabric, marble, glass and mirror

Lady in waiting, 2003

Tapestry, thread, stainless steel, steel, wood and glass

82 × 43 1/2 × 58 in; 208.3 × 110.5 × 147.3 cm

Red Room (Child), 1994

Untitled, 1947-1949

Bronze, painted white and blue, and stainless steel

51 4/5 × 12 × 12 in; 131.5 × 30.5 × 30.5 cm

Pillar, 1949-1950

Bronze，63 1/4 × 12 × 12 in

160.7 × 30.5 × 30.5 cm

Untitled, 1954

Painted bronze and stainless steel

55 1/2 × 21 7/10 × 12 in; 141 × 55.2 × 30.5 cm

Untitled, 2003

63 × 20 9/10 × 16 1/10 in; 160 × 53 × 41 cm

NATURE STUDY, 1984

Bronze, polished patina

29 1/2 × 20 1/2 × 15 1/2 in; 74.9 × 52.1 × 39.4 cm

Fragile Goddess, 1970

Bronze, gold patina

10 1/4 × 5 5/8 × 5 3/8 in; 26 × 14.3 × 13.7 cm

AVENZA REVISITED

Bronze with silver nitrate and polished patina

17 × 41 × 35 in; 43.2 × 104.1 × 88.9 cm

Give or Take (How Do You Feel This Morning?), 1990

Bronze

4 1/4 × 9 × 6 in; 10.8 × 22.9 × 15.2 cm

Give or Take (How Do You Feel This Morning), 1990

Cast and polished bronze sculpture

4 1/2 × 9 × 6 in; 11.4 × 22.9 × 15.2 cm

Fallen Woman (White, Black and Blue), 1996-1997

Porcelain, gilding

2 7/8 × 11 1/4 × 2 3/4 in; 7.3 × 28.6 × 7 cm

Fallen Woman, 1996

Black porcelain and polished gold

3 1/4 × 3 1/4 × 11 3/4 in; 8.3 × 8.3 × 29.8 cm

Fallen Woman, 1996

Porcelain biscuit and gold

12 1/5 × 3 3/20 × 3 3/20 in; 31 × 8 × 8 cm

Arch of Hysteria, 1993

Bronze, polished patina

33 × 40 × 23 in; 83.8 × 101.6 × 58.4 cm

Topiary, 2005

Bronze, silver nitrate patina

6 3/4 × 11 1/4 × 10 1/4 in; 17.1 × 28.6 × 26 cm

TOPIARY, 2006

Bronze, silver nitrate patina

8 7/10 × 9 3/10 × 4 in; 22.2 × 23.5 × 10.2 cm

FEMME, 2005

Bronze, silver nitrate patina

13 × 16 1/2 × 7 3/4 in; 33 × 41.9 × 19.7 cm

Knife Couple, 1949 (cast 1991)

Bronze and stainless steel

67 1/2 × 12 × 12 in; 171.5 × 30.5 × 30.5 cm

NATURE STUDY, 1986

White marble

35 × 61 × 29 in; 88.9 × 154.9 × 73.7 cm

Mamelles, 1991

Pigmented urethane rubber

19 × 120 × 19 in; 48.3 × 304.8 × 48.3 cm

Assaults, 1999

Wall relief; steel and lead

10 1/4 × 16 1/2 × 1/2 in; 26 × 41.9 × 1.3 cm

Pregnant Woman II, 1947-1949

Bronze coated and polished Ed. 4/6

52 × 16 × 16 in; 132 × 40.6 × 40.6 cm

Fée Couturière

Painted bronze

39 1/2 × 22 1/2 × 22 1/2 in; 100.3 × 57.2 × 57.2 cm

Figure, 1999

Fabric, pink Portuguese marble, metal and glass

8 7/10 × 17 1/2 × 10 1/5 in; 22.2 × 44.5 × 26 cm

Rondeau for L, Conceived in 1963 and cast in 1990

Bronze

11 × 11 × 10 1/2 in; 27.9 × 27.9 × 26.7 cm

The Couple, 2003

In and Out, 1995

Metal, glass, plaster, fabric, and plastic

The Loved Hand, Conceived in 1967 and cast in 1990

Bronze

9 × 12 1/10 × 8 in; 22.9 × 30.8 × 20.3 cm

Untitled (No. 2), 1996

Pink marble on steel base

26 × 31 × 25 in; 66 × 78.7 × 63.5 cm

UNTITLED , 2004

Pink marble

10 1/4 × 24 × 16 in; 26 × 61 × 40.6 cm

Untitled, 2001

Bronze with silver nitrate patina, in 3 parts

Untitled，Fur

Single III, 1996

Maman , 1999

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Louise Bourgeois’ Spider

路易丝·布尔乔亚的蜘蛛

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我的童年从未失去它的魔力，它从未失去它的神秘，它从未失去它的戏剧。

——路易丝·布尔乔亚

Louise Bourgeois: Structures of Existence – The Cells

The pair first met in 1980 when Jerry was hanging her work in a Soho gallery and the artist walked past the window. “I didn’t know the work so well and I’d only seen a few pieces, but I thought they were strong,” he says. He was 25 and she was 70.

Louise Bourgeois: Structures of Existence – The Cells

Rather than a meeting of minds, their first conversation was an argument in which Bourgeois shouted at Jerry that he was hanging her work all wrong. “She could be quite aggressive and powerful, but then she calmed down after we had some tea. She then invited me to her house and so I saw even more of her work.”

Louise Bourgeois: Structures of Existence – The Cells

At first, Jerry only worked for Bourgeois a few hours a week but slowly his role grew to assistant, manager and friend. Her career spanned 70 years but it was only later in life, with Jerry’s involvement, that she became more known. The work, rather than the fame, always remained priority for Bourgeois.

Louise Bourgeois: Cell VI, 1991, Structures of Existence – The Cells

“I had to force her to go to a few of her own openings in the beginning even though she didn’t want to… She felt the whole thing was unnecessary, so was rarely involved in the commercial side of her work.”

Louise Bourgeois: Passage Dangereux, 1997

Louise Bourgeois: Cell XXVI, 2003, Structures of Existence – The Cells