logging in or signing up Louise Josephine Bourgeois aSGuest61448 Download Post to : URL : Related Presentations : Share Add to Flag Embed Email Send to Blogs and Networks Add to Channel Uploaded from authorPOINT lite Insert YouTube videos in PowerPont slides with aS Desktop Copy embed code: (To copy code, click on the text box) Embed: URL: Thumbnail: WordPress Embed Customize Embed The presentation is successfully added In Your Favorites. Views: 266 Category: Education License: All Rights Reserved Like it (0) Dislike it (0) Added: August 18, 2010 This Presentation is Public Favorites: 0 Presentation Description No description available. Comments Posting comment... By: marry361 (7 month(s) ago) Thanks for this short overview, which is ok, but tells you nothing about this stunning artist, that you couldn't read in any dictionary - I somehow got the idea, that you've never seen one of her works or have been "listening" what she said. Just In case of interest for this stunning artist I'd recommend to go on reading with this: http://www.grin.com/en/e-book/148392/elements-of-surrealist-.. Saving..... Post Reply Close Saving..... Edit Comment Close Premium member Presentation Transcript Reyes,Giliw E. Sandalo FA 51-H : Reyes,Giliw E. Sandalo FA 51-H Louise Joséphine Bourgeois : Louise Joséphine Bourgeois Early Life : As a child, Bourgeois did not meet her fathers expectations due to her lack of ability. Eventually, he came to adore her for her talent and spirit, but she continued to hate him for his explosive temper, domination of the household, and for teasing her in front of others. Early Life Slide 5: In 1924 her father, a tyrannical philanderer, was indulging in an extended affair with her English teacher and nanny. According to Bourgeois, her mother, Josephine, “an intelligent, patient and enduring, if not calculating person”, was aware of her husband's infidelity, but found it easier to turn a blind eye. Bourgeois, an alert little girl, hoarded her memories in her diaries. Slide 6: In 1930, Bourgeois entered the Sorbonne to study mathematics and geometry, subjects that she valued for their stability. Slide 7: “ I got peace of mind, only through the study of rules nobody could change. ” —Louise Bourgeois, The New York Times School Life : School Life In 1932, the death of her mother inspired her to abandon mathematics and to begin studying art. Her father thought modern artists were wastrels, and refused to support her. She continued to study art through joining classes where translators were needed for English-speaking students, in which those translators were not charged tuition. Slide 9: Bourgeois graduated from the Sorbonne in 1935 and continued to study at various art schools, such as the École du Louvre and the École des Beaux-Arts. Slide 10: During the time in which she was enrolled at the École des Beaux-Arts, she turned to her father's infidelities for inspiration. She discovered her creative impulse in her childhood traumas and tensions. She frequently visit studios in Paris, learning techniques from the artists and assisting with exhibitions. Slide 11: Bourgeois briefly opened a print store beside her father's tapestry workshop. Her father helped her on the grounds that she had entered into a commerce driven profession. Slide 12: Bourgeois met her husband Robert Goldwater, an American art historian noted for his pioneering work in the field then referred to as primitive art, in 1938 at Bourgeois' print store. They migrated to New York City the same year, where Bourgeois attended the Art Students League of New York, studying painting under Vaclav Vytlacil. Middle Years : Middle Years Though her beginnings were as an engraver and painter, by the 1940’s she had turned her attention to sculptural work, for which she is now recognized as a twentieth-century leader. In 1954, Bourgeois joined the American Abstract Artists Group, among them are Barnett Newman and Ad Reinhardt. At that time she befriended the artists Willem De Kooning, Mark Rothko, and Jackson Pollock. Slide 14: Greatly influenced by the influx of European Surrealist artists who immigrated to the United States after World War II, Bourgeois’s early sculpture was composed of groupings of abstract and organic shapes, often carved from wood. Later Life : Later Life In 1973, Bourgeois began teaching at the Pratt Institute, Cooper Union, and the New York Studio School of Drawing, Painting and Sculpture. The same year, her husband, she is survived by two sons, Alain Bourgeois and Jean-Louis Bourgeois. Her third son, Michel, died in 1990. Slide 16: Bourgeois received her first retrospective in 1981, by the Museum of Modern Art in New York City. Until then, she had been a peripheral figure in art whose work was more admired than acclaimed. Slide 17: In 1993, when the Royal Academy of Arts staged its comprehensive survey of American art in the 20th century, the organizers did not consider Bourgeois' work of significant importance to include in the survey. Maman : Maman In late 1990’s, Bourgeois began using the spider as a central image in her art. Maman, which stands more than nine meters high, is a steel and marble sculpture from which an edition of six bronzes were subsequently cast. Slide 19: It first made an appearance as part of Bourgeois’ commission for The Unilever Series for Tate Modern’s Turbine Hall in 2000. Slide 20: The sculpture alludes to the strength of her mother, with metaphors of spinning, weaving, nurture and protection. Slide 21: “The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. Mosquitoes spread disease and are therefore unwanted. So, spiders are helpful and protective, just like my mother.” -Louise Bourgeois Death : Death In 2010, the last year of her life, Bourgeois used her art to speak up for LGBT equality. Slide 23: She created the piece I Do, depicting two flowers growing from one stem, to benefit the nonprofit organization Freedom to Marry. Slide 24: “Everyone should have the right to marry. To make a commitment to love someone forever is a beautiful thing. ” —Louise Bourgeois, Freedom To Marry 1950 Art Work : 1950 Art Work A woman who sways one way and then the other in her relationships with men. Myriad shards of painted wood are threaded onto a narrow rod that looks like a needle or a spindle. Associates both with the resourceful creativity of her mother’s work in the family’s tapestry repair business; they seem to have a sort of talismanic power to heal and restore. “Femme Volage” 1951 Slide 26: African-influenced smaller sculptures, consisting mostly of oblong wood totems with pointed tops surrounding shorter, rounded pieces. It exudes a frightening sense of claustrophobia, of the male surrounding the female with little way to escape. “One And Others” 1955 1980 Art Work : 1980 Art Work “Spiral Woman” 1984 A small bronze figure is trapped within a clutching spiral and suspended above a dark slate disc positioned on the floor below. As the woman dangles in midair, there is a sense of suspended animation. Is she struggling to free herself? Or is the embrace of the spiral saving her from tumbling into the void below? Slide 28: Black-and-white metal shutters form the boundary, the space has a fan-like arrangement to it which can be shifted into different configurations. It is an architectonic translation of dream space –the hanging objects are the repositories of the images and words which make up a dream; dream language, with its condensed imagery and improbable sense of time and space is the whole structure, the articulated lair, but in contrast to the title of the work, the dream is not fully articulated at this point in time. The dream, or nightmare is articulated in the later cells. “Articulated Lair” 1986 Slide 29: “Cell: Eyes And Mirrors” 1989-1993 The structures deny entry to their cloistered interiors, but the viewer is prompted to peer inside and encounter a voyeuristic perspective on a private world. Bourgeois refers to these installations as Cells, a term that invites associations with incarceration and monastic contemplation, as well as with the most basic element of the human body. The Cells represent different types of pain: the physical, the emotional, and psychological, and the mental and intellectual.” 1990 Art Work : 1990 Art Work “Spiral” 1994 It is a twist. Bourgeois after washing the tapestries in the river, she would turn and twist and ring them with three others or more to ring the water out. She dream of getting rid of her father’s mistress by ringing her neck. The spiral represents control and freedom. Slide 31: “The Nest” 1994 It blends sculpture with drawing through its ingenious use of legs as both sculptural objects and lines in space. Her self-selected totem figure, because of its power to intermingle two- and three-dimensional relationships. You do not have the permission to view this presentation. In order to view it, please contact the author of the presentation.
Louise Josephine Bourgeois aSGuest61448 Download Post to : URL : Related Presentations : Share Add to Flag Embed Email Send to Blogs and Networks Add to Channel Uploaded from authorPOINT lite Insert YouTube videos in PowerPont slides with aS Desktop Copy embed code: (To copy code, click on the text box) Embed: URL: Thumbnail: WordPress Embed Customize Embed The presentation is successfully added In Your Favorites. Views: 266 Category: Education License: All Rights Reserved Like it (0) Dislike it (0) Added: August 18, 2010 This Presentation is Public Favorites: 0 Presentation Description No description available. Comments Posting comment... By: marry361 (7 month(s) ago) Thanks for this short overview, which is ok, but tells you nothing about this stunning artist, that you couldn't read in any dictionary - I somehow got the idea, that you've never seen one of her works or have been "listening" what she said. Just In case of interest for this stunning artist I'd recommend to go on reading with this: http://www.grin.com/en/e-book/148392/elements-of-surrealist-.. Saving..... Post Reply Close Saving..... Edit Comment Close Premium member Presentation Transcript Reyes,Giliw E. Sandalo FA 51-H : Reyes,Giliw E. Sandalo FA 51-H Louise Joséphine Bourgeois : Louise Joséphine Bourgeois Early Life : As a child, Bourgeois did not meet her fathers expectations due to her lack of ability. Eventually, he came to adore her for her talent and spirit, but she continued to hate him for his explosive temper, domination of the household, and for teasing her in front of others. Early Life Slide 5: In 1924 her father, a tyrannical philanderer, was indulging in an extended affair with her English teacher and nanny. According to Bourgeois, her mother, Josephine, “an intelligent, patient and enduring, if not calculating person”, was aware of her husband's infidelity, but found it easier to turn a blind eye. Bourgeois, an alert little girl, hoarded her memories in her diaries. Slide 6: In 1930, Bourgeois entered the Sorbonne to study mathematics and geometry, subjects that she valued for their stability. Slide 7: “ I got peace of mind, only through the study of rules nobody could change. ” —Louise Bourgeois, The New York Times School Life : School Life In 1932, the death of her mother inspired her to abandon mathematics and to begin studying art. Her father thought modern artists were wastrels, and refused to support her. She continued to study art through joining classes where translators were needed for English-speaking students, in which those translators were not charged tuition. Slide 9: Bourgeois graduated from the Sorbonne in 1935 and continued to study at various art schools, such as the École du Louvre and the École des Beaux-Arts. Slide 10: During the time in which she was enrolled at the École des Beaux-Arts, she turned to her father's infidelities for inspiration. She discovered her creative impulse in her childhood traumas and tensions. She frequently visit studios in Paris, learning techniques from the artists and assisting with exhibitions. Slide 11: Bourgeois briefly opened a print store beside her father's tapestry workshop. Her father helped her on the grounds that she had entered into a commerce driven profession. Slide 12: Bourgeois met her husband Robert Goldwater, an American art historian noted for his pioneering work in the field then referred to as primitive art, in 1938 at Bourgeois' print store. They migrated to New York City the same year, where Bourgeois attended the Art Students League of New York, studying painting under Vaclav Vytlacil. Middle Years : Middle Years Though her beginnings were as an engraver and painter, by the 1940’s she had turned her attention to sculptural work, for which she is now recognized as a twentieth-century leader. In 1954, Bourgeois joined the American Abstract Artists Group, among them are Barnett Newman and Ad Reinhardt. At that time she befriended the artists Willem De Kooning, Mark Rothko, and Jackson Pollock. Slide 14: Greatly influenced by the influx of European Surrealist artists who immigrated to the United States after World War II, Bourgeois’s early sculpture was composed of groupings of abstract and organic shapes, often carved from wood. Later Life : Later Life In 1973, Bourgeois began teaching at the Pratt Institute, Cooper Union, and the New York Studio School of Drawing, Painting and Sculpture. The same year, her husband, she is survived by two sons, Alain Bourgeois and Jean-Louis Bourgeois. Her third son, Michel, died in 1990. Slide 16: Bourgeois received her first retrospective in 1981, by the Museum of Modern Art in New York City. Until then, she had been a peripheral figure in art whose work was more admired than acclaimed. Slide 17: In 1993, when the Royal Academy of Arts staged its comprehensive survey of American art in the 20th century, the organizers did not consider Bourgeois' work of significant importance to include in the survey. Maman : Maman In late 1990’s, Bourgeois began using the spider as a central image in her art. Maman, which stands more than nine meters high, is a steel and marble sculpture from which an edition of six bronzes were subsequently cast. Slide 19: It first made an appearance as part of Bourgeois’ commission for The Unilever Series for Tate Modern’s Turbine Hall in 2000. Slide 20: The sculpture alludes to the strength of her mother, with metaphors of spinning, weaving, nurture and protection. Slide 21: “The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. Mosquitoes spread disease and are therefore unwanted. So, spiders are helpful and protective, just like my mother.” -Louise Bourgeois Death : Death In 2010, the last year of her life, Bourgeois used her art to speak up for LGBT equality. Slide 23: She created the piece I Do, depicting two flowers growing from one stem, to benefit the nonprofit organization Freedom to Marry. Slide 24: “Everyone should have the right to marry. To make a commitment to love someone forever is a beautiful thing. ” —Louise Bourgeois, Freedom To Marry 1950 Art Work : 1950 Art Work A woman who sways one way and then the other in her relationships with men. Myriad shards of painted wood are threaded onto a narrow rod that looks like a needle or a spindle. Associates both with the resourceful creativity of her mother’s work in the family’s tapestry repair business; they seem to have a sort of talismanic power to heal and restore. “Femme Volage” 1951 Slide 26: African-influenced smaller sculptures, consisting mostly of oblong wood totems with pointed tops surrounding shorter, rounded pieces. It exudes a frightening sense of claustrophobia, of the male surrounding the female with little way to escape. “One And Others” 1955 1980 Art Work : 1980 Art Work “Spiral Woman” 1984 A small bronze figure is trapped within a clutching spiral and suspended above a dark slate disc positioned on the floor below. As the woman dangles in midair, there is a sense of suspended animation. Is she struggling to free herself? Or is the embrace of the spiral saving her from tumbling into the void below? Slide 28: Black-and-white metal shutters form the boundary, the space has a fan-like arrangement to it which can be shifted into different configurations. It is an architectonic translation of dream space –the hanging objects are the repositories of the images and words which make up a dream; dream language, with its condensed imagery and improbable sense of time and space is the whole structure, the articulated lair, but in contrast to the title of the work, the dream is not fully articulated at this point in time. The dream, or nightmare is articulated in the later cells. “Articulated Lair” 1986 Slide 29: “Cell: Eyes And Mirrors” 1989-1993 The structures deny entry to their cloistered interiors, but the viewer is prompted to peer inside and encounter a voyeuristic perspective on a private world. Bourgeois refers to these installations as Cells, a term that invites associations with incarceration and monastic contemplation, as well as with the most basic element of the human body. The Cells represent different types of pain: the physical, the emotional, and psychological, and the mental and intellectual.” 1990 Art Work : 1990 Art Work “Spiral” 1994 It is a twist. Bourgeois after washing the tapestries in the river, she would turn and twist and ring them with three others or more to ring the water out. She dream of getting rid of her father’s mistress by ringing her neck. The spiral represents control and freedom. Slide 31: “The Nest” 1994 It blends sculpture with drawing through its ingenious use of legs as both sculptural objects and lines in space. Her self-selected totem figure, because of its power to intermingle two- and three-dimensional relationships.