67:, Bourgeois shows the home as an essentially female place, in which she can explore ideas about female identity. These paintings are frequently read by feminists as a representation of the abolition of identify for women in home and family, alluding to the "problem with no name" that
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Another interpretation notes that for
Bourgeois, architecture symbolizes the social world that attempts to define the individual, in contrast to the inner world of emotion. The tension between figure and architecture mirrors the dichotomy between mind and body.
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Bourgeois said the Femme Maison "does not know that she is half naked, and she does not know that she is trying to hide. That is to say, she is totally self-defeating because she shows herself at the very moment that she thinks she is hiding."
126:(2001) is encased in a metal framed glass box called a "cell." In one sense, the cell encases and protects the artwork; however, Louise Bourgeois’ intention was to use the cell also as a way of containing the memory held within the work.
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110:, who develops a relationship between the main character, Vera, and the works of Louise Bourgeois. Vera paints, amongst various images inspired by Bourgeois, this figure on the wall of her room where she lives in captivity.
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address the question of female identity. In these paintings, the heads and bodies of nude female figures have been replaced by architectural forms such as buildings and houses.
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paintings were also translated into sculptural forms, in a range of abstraction and figuration using steel and fabric as well as marble, up through 2001. The sculpture titled
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It is also important to note that
Bourgeois uses her own personal history along with the issues in femininity, psychoanalysis and communication to create
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identified in the 60s as the dissatisfaction and the lack of fulfilment of women who embarked on careers as housewives and mothers in suburban
America.
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translates from the French as ‘housewife’: literally, ‘woman house’. In 1984 Bourgeois produced a small series of
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147:"MoMA | Louise Bourgeois: The Complete Prints & Books | Chronology at MoMA"
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193:"Feminist Readings of Louise Bourgeois or Why Louise Bourgeois is a Feminist Icon"
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The image of the female nude with the head of a home is also present in the film
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Nicoletta, Julie. "Louise
Bourgeois's Femmes-Maisons: Confronting Lacan".
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The most familiar work from this series was used for the cover of critic
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235:"Louise Bourgeois, the Theory, and Practice of Psychoanalysis"
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Louise
Bourgeois: The Spider, the Mistress, and the Tangerine
93:'s influential 1976 collection of feminist essays on art,
39:(1946–47) series of paintings by French American artist
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237:. arttattler.com. Archived from
265:. heide.com.au. Archived from
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191:Katy Deepwell (23 May 2011).
260:"Louise Bourgeois at Heide"
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171:"Louise Bourgeois: Room 1"
118:The ideas involved in the
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350:Eye Benches I, II and III
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25:Three examples from the
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414:Jean-Louis Bourgeois
373:Steilneset Memorial
217:Woman's Art Journal
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103:The Skin I Live In
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124:Femme Maison
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106:by director
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63:Throughout
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177:2015-03-07
153:2017-11-08
149:. moma.org
130:References
114:Sculptures
410:(husband)
393:(1946-47)
382:Paintings
353:(1996-97)
401:Related
369:(2005)
361:(1999)
345:(1996)
342:Spider
29:series
416:(son)
358:Maman
270:(PDF)
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33:The
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