Introduction
In the historiography devoted to Louise Bourgeois, her early work (1938-1950) are only marginally discussed. The complex path that led Louise Bourgeois to sculpture, particularly in view of weaving as a charged subject in her family history, and the presence of polysemous motifs, has not been addres...
Enregistré dans:
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| Format: | Article ou chapitre numérique |
| Sprog: | Français |
| Udgivet: |
2000
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Summary: | In the historiography devoted to Louise Bourgeois, her early work (1938-1950) are only marginally discussed. The complex path that led Louise Bourgeois to sculpture, particularly in view of weaving as a charged subject in her family history, and the presence of polysemous motifs, has not been addressed from the angle of a synthesis. Yet, with key works in mind such a path can be reconstructed: a shift that occurred in the years 1945-1947 around the Femme Maison series, the artist’s book He Disappeared into Complete Silence, and the spiders series, all testify to a global project. As the first woman to achieve such a degree of notoriety, her work was strictly autobiographical. It also went against the grain of the art of her time, which sought to free itself from the narrative paradigm. From the early stages of her career, the foundations of her plastic language, structured by motifs closely linked to her family origins and in keeping with to the notion of condensation, were in place. |
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