Louise Bourgeois Art For Sale

Louise Bourgeois’s work, which spanned most of the 20th century, was heavily influenced by traumatic psychological events from her childhood, particularly her father’s infidelity. Bourgeois’s often brooding and sexually explicit subject matter and her focus on the three-dimensional form were rare for women artists at the time. Beginning in the 1970s, she hosted Sunday salons in her Chelsea apartment, where students and young artists would take their work to be critiqued by Bourgeois, who could be ruthless and referred to the gatherings, with characteristically dry humor, as “Sunday, bloody Sunday”. Nevertheless, this accessibility and willingness to advise younger artists was exceptional for an established artist of such standing. Her influence on other artists since the 1970s looms large but is manifested most strongly in feminist-inspired body art and in the development of installation art.

Our fine art gallery has the finest quality Louise Bourgeois original mixographs and prints. A large inventory is available off-site and We encourage you to make an appointment to see specific works you are looking to collect. We are happy to meet you at either our art gallery showroom or at your home or office for a private presentation.

Bourgeois had a wide-ranging education. In the early 1930s, she studied math and philosophy at the Sorbonne, where she wrote her thesis on Blaise Pascal and Emmanuel Kant. After the death of her mother in 1932, she began studying art, enrolling in several schools and ateliers between 1934 and 1938, including the Ecole des Beaux-Arts, the Academie Ranson, the Academie Julian, and the Academie de la Grande-Chaumiere. Her first Paris apartment was on the rue de Seine in the same building as André Breton’s Galerie Gradiva, where she became familiar with the work of the Surrealists. In 1938, she began exhibiting her work at the Salon d’Automne and opened her own gallery in a sectioned-off area of her father’s tapestry showroom, exhibiting prints and paintings. Through her short career as an art dealer, she met art historian Robert Goldwater, with whom she married and relocated to New York City in 1938.

Upon arrival in New York, Bourgeois enrolled at the Art Students League and focused her attention on printmaking and painting, while also having three children in four years. Throughout the 1940s and ’50s, Goldwater introduced Bourgeois to a plethora of New York artists, critics, and dealers, including importantly Alfred Barr, the director of the Museum of Modern Art, who bought one of her works for the MoMA collection in 1953. In the late ’40s and ’50s, she had several solo shows in various New York galleries. Her husband received a Fulbright grant and they returned with their children to France for several years in the early 1950s, during which time her father died. Bourgeois began psychoanalysis in 1952, which she continued on and off until 1985. In the 1960s, Bourgeois began experimenting with latex, plaster, and rubber, and also traveled to Italy, where she worked with marble and bronze.

Bourgeois’s husband died in 1973, the same year she began teaching at various institutions in New York City, including the Pratt Institute, Brooklyn College, and Cooper Union. She also participated in several exhibits in the 1970s and ’80s and began presenting performance pieces. In the 1970s, Bourgeois also became politically active as a socialist and a feminist. She joined the Fight Censorship Group, which defended the use of sexually explicit imagery in art, and made several of her own sexually explicit works related to the female body, such as Fillette (1968). Marking her prestige in the art world, Bourgeois had her first retrospective in 1982 at MoMA, which was the first given to a female artist at that institution. In 1993, Bourgeois, who became an American citizen in 1955, was chosen to represent the USA in the Venice Biennale. She died in 2010.

Bourgeois’s work helped inform the burgeoning feminist art movement and continues to influence feminist-inspired work and installation art. The first assemblages of Louise Nevelson, for example, were produced a few years after Bourgeois had been experimenting with similar environments, such as Blind Leading the Blind (1947-49) and Night Garden (1953). Bourgeois’s focus on both male and female gentalia during the 1960s was an important precursor to feminist artists such as Lynda Benglis and Judy Chicago, whose works address similar interests. Bourgeois’s work always centered upon the reconstruction of memory, and in her 98 years, she produced an astounding body of sculptures, drawings, books, prints, and installations.