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List of artworks by Louise Bourgeois

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This is a list of individual works of visual art (sculpture, drawings, and paintings) by Louise Bourgeois, sorted by year.

Sculpture

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  • Quarantania (1941). Seven wooden pine elements on a wooden base. 84 3/4 × 31 1/4 × 29 1/4 inches[1]
  • Paddle Woman (1947). Bronze. 57.75 × 16.25 × 12 inches.[2]
  • The Three Graces (1947). Bronze, painted white. 81 × 25 × 12 inches.[2]
  • Persistent Antagonism (1947–1949). Painted wood with metal ring. 68 × 12 × 12 inches. San Francisco Museum of Modern Art.[3]
  • The Blind Leading the Blind (1947–1949). Bronze, dark patina. 69.25 × 69 × 23 inches.[2]
  • Untitled (1947–1949). Bronze, painted white and black. 64 × 12 × 12 inches.[2]
  • Observer (ca. 1947–1949). Painted Wood. 76.5 inches high[4]
  • Quarantania (1947–1953). Bronze, painted white and blue. 80.5 × 27 × 27 inches.[2]
  • Sleeping Figure (ca. 1950). Balsa Wood 72.5 × 11.625 × 11.75
  • Friendly Evidence (ca. 1950). painted wood. 75 inches high[4]
  • One and Others (1955). Painted and stained wood. 18 5/8 x 20 x 16 7/8 inches[5]
  • Clutching (1962). Bronze, silver nitrate patina. 12 × 13 × 12 inches.[2]
  • End of Softness (1967). Bronze, gold patina. 7 × 20.3.75 × 15.25 inches.[2]
  • Germinal (1967). Bronze, gold patina. 5.625 × 7.375 × 6.25 inches.[2]
  • Unconscious Landscape (1967–1968). Bronze. 12 × 22 × 24 inches.[2]
  • Fillette (1968). Latex. Approximately 24 inches long.[6]
  • Janus in Leather Jacket (1968). Bronze. 12 × 22 × 6.5 inches.[2]
  • Avenza Revisited II (1968–1969). Bronze, black polished patina. 51.5 × 41 × 75.5 inches.[2]
  • Le Trani Episode (1971). Bronze, dark patina. 16.5 × 23.125 × 23.25 inches.[2]
  • Number Seventy-two (The No March) (1972). Marble. 120 × 120 × 84 inches. Storm King Art Center Collection.[3]
  • Maisons Fragiles (1978). Steel, two units. 84 × 27 × 14 inches & 72 × 27 × 14 inches. Cheim & Read, New York.[3]
  • Nature Study (1984). Bronze. 47 × 12 × 12 inches.[2]
  • Nature Study, Eyes (1984). marble, steel and wood. 20 × 45½ × 31½" (50.8 × 115.57 × 80.01 cm). Albright-Knox Art Gallery Collection [7]
  • She-Fox (1985). Marble. Approximately 6 feet high.[6]
  • Untitled (Fingers) (1986). Bronze. 4 × 8.5 × 18.5 inches.[2]
  • Untitled (With Hand) (1989). Pink marble. 31 × 30.5 × 21 inches. Private collection, Jerry Gorovy; New York City.[3]
  • Curved House (1990). Marble. 14 × 37 × 13 inches. (BOUR-2228) CR# BO.2246.[2]
  • J'y suis, j'y reste (1990). Pink marble, glass, and metal. 35 × 40.5 × 31 inches. (BOUR-1790) CR# BO.574.[2]
  • Cove, 1988 (cast 1992). Bronze, 66 x 36 x 20 in. (167.6 x 91.4 x 50.8 cm). Collection Landing, Nasher Sculpture Center.[8]
  • Cell (Arch of Hysteria) (1992–1993). Steel, bronze, cast iron, and fabric. 119 × 145 × 120 inches. Centro Andaluz de Arte Collection.[3]
  • Arch of Hysteria (1993). Bronze, polished patina. 84 x 101.5 x 58.5 centimeters.[9]
  • Helping Hands (Tribute to Jane Addams) (1993) Sculpture Garden - 5 pieces of carved black granite hands that sit on six rough-hewn stone pedestals. Relocated to Chicago Women's Park & Gardens, 1801 S Indiana Ave., Chicago, IL in 2011 | https://www.chicagoparkdistrict.com/parks-facilities/helping-hands-artwork |
  • Spider (1994). Steel, glass, water, and ink. 44.76 × 77.95 × 64.76 inches. Private collection.[3]
  • The Nest (1994). Steel. 101 × 189 × 158 inches. San Francisco Museum of Modern Art[a]
  • In and Out (1995). Metal, glass, plaster, fabric, plastic. 83 × 65 × 113 inches. (BOUR-2335) CR# BO.2794.[2]
  • Spider (1996) Bronze cast with silver nitrate patina. 9 ft. 3 in. x 27 ft. 4 in. x 26 ft. National Gallery of Art Sculpture Garden[10]
  • Untitled (No. 2) (1996). Pink marble on steel base. 26 × 31 × 25 inches. (BOUR-3105) CR# BO.1049. .[2]
  • "Couple II" (1996), fabric and knee brace. 27 × 60 × 32 inches. Albright-Knox Art Gallery Collection[b]
  • Eye Benches I, II and III (1996-1997), Olympic Sculpture Park, Seattle, Washington
  • Eyes, 1997 (1997), Tjuvholmen Sculpture Park, Oslo, Norway[11]
  • Pink Days and Blue Days (1997) Steel, fabric, wood, bone, rubber, glass, and mixed media. 117 × 87 × 87 inches[1]
  • Ears (1998). Pink marble. 39.5 × 28.5 × 72 inches. (BOUR-3424) CR# BO.5179.[2]
  • Maman (1999). Steel, marble (one unit); bronze, marble (six units).[12] 365 × 351 × 403 inches.[2]
  • Cell × (Portrait) (2000). Steel, glass, wood, red fabric. 76.75 × 48.25 × 48.25 inches. (BOUR-4278) CR# BO.4201.[2]
  • Cell XIV (Portrait) (2000). Steel, glass, wood, metal, red fabric. 74 × 48 × 48 inches. (BOUR-4309) CR# BO.4398.[2]
  • Cell XV (For Turner) (2000). Steel, painted aluminum, mirrors, glass, water, electrical light. 108 × 120 × 68 inches. (BOUR-3259) CR# BO.4399.[2]
  • Mamelles (2000). Pink marble. 27 × 114 × 29.5 inches. (BOUR-4043) CR# BO.6723.[2]
  • Temper Tantrum (2000). Pink fabric. 9 × 13 × 20 inches. (BOUR-4284) CR# BO.4216.[2]
  • Cell XXIV (Portrait) (2001). Steel, stainless steel, glass, wood, fabric. 70 × 42 × 42 inches. (BOUR-4480) CR# BO.5493.[2]
  • Cell XXV(The View of the World of the Jealous Wife) (2001). Steel, wood, marble, glass, fabric. 100 × 120 × 120 inches. (BOUR-4728) CR# BO.5680.[2]
  • Rejection (2001). Fabric, lead, steel. 25 × 13 × 12 inches. (BOUR-4588) CR# BO.5497.[2]
  • Eyes (nine elements) (2001). Williams College Museum of Art.[13]
  • Seven in a Bed (2001). Fabric, stainless steel, glass, wood. 68 × 33.5 × 34.5 inches. (BOUR-5005) CR# BO.6002.[2]
  • Untitled (2001). Fabric, steel. 11 × 27 × 21 inches. (BOUR-4746) CR# BO.5686.[2]
  • Untitled (2001). Blue and purple fabric, steel. 85 × 12 × 12 inches. (BOUR-4731) CR# BO.5687.[2]
  • Untitled (2001). Rust and tan fabric, steel. 106 × 23 × 16 inches. BOUR-4732) CR# BO.5688.[2]
  • Untitled (2002). Fabric, steel, wood. 14 × 15 × 6 inches. (BOUR-5386) CR# BO.6766.[2]
  • Untitled (2002). Tapestry fabric, stainless steel. 74.5 × 15 × 12 inches. (BOUR-5637) CR# BO.7400.[2]
  • Untitled (2002). Fabric, aluminum. 12 × 12 × 12 inches. (BOUR-5812) CR# BO.7996.[2]
  • Untitled (2002). Pink marble. 10 × 36.25 × 16.5 inches. (BOUR-5347) CR# BO.8272.[2]
  • Crouching Spider (2003). Bronze and stainless steel. 106½ × 329 × 247 inches (270.5 × 835.6 × 627.3 cm).[14]
  • Father and Son (2005). Water, steel, aluminum, bronze. 6 feet tall and 5 feet tall figures in a fountain. Installed in Olympic Sculpture Park, Seattle, Washington

Drawings

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  • Femme Maison (1947). Ink on paper. 9.92 × 7.09 inches. Solomon R. Guggenheim Museum 92.4008 .[3]
  • Spider (1947). Ink, charcoal on tan paper. 11.25 × 7.5 inches. Private collection.[3]
  • Untitled (1947). Pencil and red ink on tan paper. 11.5 × 9 inches. (BOUR-0839) CR# BO.4721.[2]
  • Untitled (1947). Ink on tan paper. 11.25 × 8.25 inches. (BOUR-0841) CR# BO.4723.[2]
  • Untitled (1950). Ink on tan paper. 20.25 × 13 inches. University of California, Berkeley Art Museum[c] [3]
  • Untitled (1970). Ink and collage on paper. 8.5 × 11 inches. (BOUR-0590) CR# BO.2868.[2]
  • Naked Jogging (1996). Red ink on paper. 11.625 × 9 inches. (BOUR-5597) CR# BO.8151.[2]
  • Father and Son (1997). Ink and pencil on paper. 9 × 11.875. (BOUR-5434) CR# BO.6862.[2]
  • Swing over the Metronome (1997). Ink and crayon on paper. 13 × 10 inches. (BOUR-5873) CR# BO.8163.[2]
  • Untitled (1997). Ink, watercolor, and pencil on paper. 12 × 9 inches. (BOUR-5883) CR# BO.8165.[2]
  • Untitled (1997). Double-sided, recto: watercolor, oilstick, and pencil on paper; verso: ink and pencil on music paper. 8.5 × 11 inches. (BOUR-5427) CR# BO.6855.[2]
  • Untitled (1997). Ink, crayon, pencil, and white out on paper. 11.75 × 9 inches. (BOUR-5614) CR# BO.8156.[2]
  • Hold My Bones (1998). Pencil and gouache on red paper. 12.75 × 12.75 inches. (BOUR-5879) CR# BO.8164.[2]
  • J'aime bien mes amis et mon mari (1998). Red ink and pencil on paper. 9 × 12 inches. (BOUR-5607) CR# BO.8154.[2]
  • Untitled (2002). Red ink and pencil on paper. 12 × 9 inches. (BOUR-5760) CR# BO.7450.[2]
  • Untitled (2002). Red ink on paper. 9 × 12 inches. (BOUR-5758) CR# BO.7448.[2]
  • Untitled (2002). Crayon and colored pencil on paper. 12 × 18.75 inches. (BOUR-5786) CR# BO.8157.[2]
  • Untitled (2002). Red ink and pencil on paper. 9 × 11.625 inches. (BOUR-5556) CR# BO.8138.[2]
  • Untitled (2002). Red ink and colored pencil on paper. 13.25 × 9.5 inches. (BOUR-5926) CR# BO.8168.[2]
  • Yes (2004). Soft-ground etching, reworked with watercolor, gouache, and colored pencil: sheet, 22 5/8 × 21 1/2 inches. Edition of 12[1]
  • Spider Woman (2005). Drypoint: plate, 6 7/8 × 9 1/2 inches; sheet, 13 1/2 × 13 1/2 inches. Edition of 25[1]
  • Spiral Woman (2006). Double-sided soft-ground etching with watercolor, gouache, crayon, and graphite: plate, 6 × 6 5/8 inches; sheet, 10 13/16 × 14 3/4 inches. Unique[1]


  • Untitled (1946). Oil, charcoal, and pastel on canvas. 36 × 24.125 inches. (BOUR-2703) CR# BO.1523.[2]
  • Untitled (1946). Oil and chalk on canvas. 44 × 22 inches. (BOUR-0031) CR# BO.1515.[2]
  • Regrettable Incident in the Louvre Palace (1947). Oil on canvas. 14.125 × 36 inches. (BOUR-0800) CR# BO.7908.[2]
  • It Is Six Fifteen (1946–1948). Oil on canvas. 36 × 24 inches. (BOUR-0028) CR# BO.519.[2]
  • Woman in Process of Placing a Beam in Her Bag (1948). Oil on canvas. 44 × 25.75 inches. (BOUR-0026) CR# BO.1514.[2]
  • Spider (1994). Watercolor and gouache on paper. 11.5 × 11.75 inches. Galerie Karsten Greve, Cologne.[3]
  • Maternal Man, 2008 Archival dyes on fabric 48 × 32 1/2 in 121.9 × 82.6 cm.[15]

Paintings

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Other

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Notes and references

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  1. ^ Purchased through the Agnes E. Meyer and Elise S. Haas Fund and the gifts of Doris and Donald Fisher, Helen and Charles Schwab, and Vicki and Kent Logan.[3] Licensed by VAGA, New York, NY (98.193.A-E)
  2. ^ Albright-Knox Art Gallery, Sarah Norton Goodyear Fund, 1999
  3. ^ Gift of The Peter Norton Family Foundation
  4. ^ This collaboration with Swiss architect Peter Zumthorn was Bourgeois' last major work.[17]


  1. ^ a b c d e "Louise Bourgeois". Collection. Whitney Museum of American Art. Archived from the original on 4 November 2014. Retrieved 23 January 2014.
  2. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be "Artist Page : Louise Bourgeois". at Cheim & Read, (Representatives of Louise Bourgeois)
  3. ^ a b c d e f g h i j k San Francisco Museum of Modern Art. [1].
  4. ^ a b Gibson, Ann (1994). "Louise Bourgeois's Retroactive Politics of Gender". Art Journal. 53 (4): 44–47. doi:10.2307/777560. JSTOR 777560.
  5. ^ "Louis Bourgeois : Images". Artists. Art:21. Archived from the original on 2 February 2014. Retrieved 23 January 2014.
  6. ^ a b c Acocella, Joan (February 4, 2002). "The Spider's Web : Louise Bourgeois and her art". The New Yorker. Retrieved 23 January 2014.
  7. ^ albrightknox.org
  8. ^ "Collection Landing". www.nashersculpturecenter.org. Retrieved 2021-09-30.
  9. ^ Storr, Robert (2003). Louise Bourgeois. United Kingdom: Phaidon Press Limited.
  10. ^ Art Inventories on SIRIS
  11. ^ "Astrup Fearnley Museet". www.afmuseet.no. Retrieved 2021-01-09.
  12. ^ Manchester, Elizabeth (December 2009). "Summary". Louise Bourgeois : Maman 1999. Tate, London. Retrieved 18 January 2014.
  13. ^ Williams College Museum of Art.[2].
  14. ^ "Crouching Spider by Louise Bourgeois". Private collection. Courtesy Cheim and Read, New York. Philadelphia Museum of Art. Retrieved 22 January 2014.
  15. ^ "Louise Bourgeois | Maternal Man (2008) | Available for Sale | Artsy". www.artsy.net. Retrieved 2021-10-14.
  16. ^ "The Unilever Series: Louise Bourgeois: I Do, I Undo, I Redo". Tate Modern.
  17. ^ a b Rosenfield, Karissa. (1 Mar 2012). "Steilneset Memorial / Peter Zumthor and Louise Bourgeois, photographed by Andrew Meredith". ArchDaily. Retrieved 22 Jan 2014.
  18. ^ Stephens, Suzanne (1 August 2011). "Steilneset Memorial to the Victims of the Witch Trials. Peter Zumthor and Louise Bourgeois. Vardø, Norway". Architectural Record. 199 (8): 36–40. Archived from the original on 3 February 2014.
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