{"id":1174,"date":"2015-10-19T20:17:44","date_gmt":"2015-10-19T20:17:44","guid":{"rendered":"https:\/\/courses.candelalearning.com\/zelixart102\/?post_type=chapter&p=1174"},"modified":"2016-02-24T22:21:51","modified_gmt":"2016-02-24T22:21:51","slug":"louise-bourgeois","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/chapter\/louise-bourgeois\/","title":{"raw":"Louise Bourgeois","rendered":"Louise Bourgeois"},"content":{"raw":"[caption id=\"attachment_1177\" align=\"aligncenter\" width=\"1024\"]\"A Figure 1. Louise Bourgeois, Cumul I<\/em>, 1969, white marble on wood base, 22-\u00bd x 50 x 48 inches or\u00a051 x 127 x 122 cm, Centre Pompidou, Mus\u00e9e national d\u2019art moderne, Paris, \u00a9Estate of the artist[\/caption]\r\n

The Reality of Three-Dimensional Form<\/h2>\r\nBulbous mounds, and spherical or oval growths emerge, conflate and disturb. Cumul I<\/i> is a\u00a0marble sculpture, part of a series, by the late French-born artist, Louise Bourgeois. Cumul, as in,\u00a0cumulus, is a reference to the forms of rounded clouds. The motif was first developed in drawings but Bourgeois wanted the reality of three-dimensional form, as she thought she could express deeper things in sculpture.\r\n\r\nLike so much of Bourgeois' work, Cumul I<\/i> is loaded with entangled metaphors of male and\u00a0female body parts that are simultaneously abstract and descriptive. Her career breezed over so\u00a0many significant trends of the 20th century that her work defies identification within any single\u00a0art movement. Instead, there is an uncompromising personal symbolism throughout her oeuvre\u00a0(life's work), filled with certain recurring motifs such as vessels, containers, ovoids, body parts,\u00a0and spiders (a metaphor of her mother's work as a weaver).\r\n

Appealing and Disturbing<\/h2>\r\nThe sculpture, Cumul I<\/i>, is designed to sit on the floor and be viewed from above. Its forms still\u00a0shock nearly half a century after its completion. The artist denied any reference to sexual forms\u00a0in this work, but the association is undeniable. The viewer is confronted with a cluster of mounds that resemble breasts and penises emerging from a rippling fabric. So what then was Bourgeois trying to communicate in this beautifully sculpted marble? What can be understood from a sculpture that is aesthetically appealing and at the same time disturbing?\r\n\r\n[caption id=\"attachment_1178\" align=\"alignright\" width=\"300\"]\"A Figure 2. Louise Bourgeois, Cumul I<\/em>\u00a0(detail)[\/caption]\r\n\r\nBourgeois offered some explanation to her mysterious oeuvre and implied that the Freudian\u00a0concept of a traumatized childhood was the catalyst for her artistic motives. The artist has\u00a0confirmed that all of her work found inspiration in her childhood. Scholars have noted that the\u00a0childhood traumas of having a sick mother and egocentric philandering father who had an affair\u00a0with her nanny, had a powerful impact on the young Bourgeois who later stated, \"My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.\"[footnote]Louise Bourgeois<\/span>: Destruction of the Father Reconstruction of the Father, Writings and Interviews 1923-1997<\/i>, edited and with texts by Marie Laure-Bernadac and Hans-Ulrich Obrist, MIT Press, 1998, page 277. The quote is also found in a compilation \u00a0of Bourgeois<\/span>' images juxtaposed by text entitled \"Album<\/a>\" 1994 and published by Peter Blum[\/footnote] References to Bourgeois' family, and sexuality, developed over the span of her career\u00a0into a personal artistic vocabulary.\r\n

Making Sense of Cumul I<\/i><\/h2>\r\nWhen we try to make sense of the male and female forms that reveal and conceal themselves\u00a0simultaneously in Cumul I<\/i>, it can help to remember Bourgeois\u2019 childhood. Ambiguity and\u00a0overlapping gender are characteristics found in many of Bourgeois\u2019 sculptures and installations.\u00a0Her art is deeply personal, confusing, troubling, magical and quite wonderful. She was one of the most significant women artists of the twentieth century.","rendered":"
\"A<\/p>\n

Figure 1. Louise Bourgeois, Cumul I<\/em>, 1969, white marble on wood base, 22-\u00bd x 50 x 48 inches or\u00a051 x 127 x 122 cm, Centre Pompidou, Mus\u00e9e national d\u2019art moderne, Paris, \u00a9Estate of the artist<\/p>\n<\/div>\n

The Reality of Three-Dimensional Form<\/h2>\n

Bulbous mounds, and spherical or oval growths emerge, conflate and disturb. Cumul I<\/i> is a\u00a0marble sculpture, part of a series, by the late French-born artist, Louise Bourgeois. Cumul, as in,\u00a0cumulus, is a reference to the forms of rounded clouds. The motif was first developed in drawings but Bourgeois wanted the reality of three-dimensional form, as she thought she could express deeper things in sculpture.<\/p>\n

Like so much of Bourgeois’ work, Cumul I<\/i> is loaded with entangled metaphors of male and\u00a0female body parts that are simultaneously abstract and descriptive. Her career breezed over so\u00a0many significant trends of the 20th century that her work defies identification within any single\u00a0art movement. Instead, there is an uncompromising personal symbolism throughout her oeuvre\u00a0(life’s work), filled with certain recurring motifs such as vessels, containers, ovoids, body parts,\u00a0and spiders (a metaphor of her mother’s work as a weaver).<\/p>\n

Appealing and Disturbing<\/h2>\n

The sculpture, Cumul I<\/i>, is designed to sit on the floor and be viewed from above. Its forms still\u00a0shock nearly half a century after its completion. The artist denied any reference to sexual forms\u00a0in this work, but the association is undeniable. The viewer is confronted with a cluster of mounds that resemble breasts and penises emerging from a rippling fabric. So what then was Bourgeois trying to communicate in this beautifully sculpted marble? What can be understood from a sculpture that is aesthetically appealing and at the same time disturbing?<\/p>\n

\"A<\/p>\n

Figure 2. Louise Bourgeois, Cumul I<\/em>\u00a0(detail)<\/p>\n<\/div>\n

Bourgeois offered some explanation to her mysterious oeuvre and implied that the Freudian\u00a0concept of a traumatized childhood was the catalyst for her artistic motives. The artist has\u00a0confirmed that all of her work found inspiration in her childhood. Scholars have noted that the\u00a0childhood traumas of having a sick mother and egocentric philandering father who had an affair\u00a0with her nanny, had a powerful impact on the young Bourgeois who later stated, “My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.”[1]<\/sup><\/a> References to Bourgeois’ family, and sexuality, developed over the span of her career\u00a0into a personal artistic vocabulary.<\/p>\n

Making Sense of Cumul I<\/i><\/h2>\n

When we try to make sense of the male and female forms that reveal and conceal themselves\u00a0simultaneously in Cumul I<\/i>, it can help to remember Bourgeois\u2019 childhood. Ambiguity and\u00a0overlapping gender are characteristics found in many of Bourgeois\u2019 sculptures and installations.\u00a0Her art is deeply personal, confusing, troubling, magical and quite wonderful. She was one of the most significant women artists of the twentieth century.<\/p>\n\n\t\t\t

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Candela Citations<\/h3>\n\t\t\t\t\t
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