Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione...
Phasellus tempor facilisis dui, ac dapibus tortor porta at. Proin varius semper pretium. Aliquam vitae sagittis ligula. Proin et sem eget nulla scelerisque sollicitudin. Donec varius elementum lacus vel vulputate. Duis a leo diam, quis tempor orci. Suspendisse tempus sollicitudin leo eu convallis. Integer porttitor, nulla sit amet ullamcorper...
Suspendisse aliquet sem ut nulla. Cras mollis ornare nisl. Morbi ac mi. Nunc eget nisi. Donec at enim. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Sed diam. Ut sagittis ultrices urna. Suspendisse eget erat non purus varius sodales. Aliquam imperdiet lobortis libero. Suspendisse scelerisque...
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Sed pede felis, tempor eu, aliquet ut, pulvinar eu, nunc. Quisque sed magna non risus porta sollicitudin. Morbi congue sapien nec diam. Cras nibh lacus, ullamcorper sit amet, pretium congue, consectetuer convallis, metus. Aliquam erat volutpat. Cum sociis natoque penatibus et magnis...
Louise Joséphine Bourgeois (French pronunciation: [lwiz buʁʒwa]; 25 December 1911 – 31 May 2010),[1] was a renowned French-American artist andsculptor, best known for her contributions to both modern and contemporary art, and for her spider structures, titled Maman, which resulted in her being nicknamed the Spiderwoman.[2] She is recognized today as the founder of confessional art.[3]
In the late 1940s, after moving to New York City with her American husband, Robert Goldwater, she turned to sculpture. Though her works are abstract, they are suggestive of the human figure and express themes of betrayal, anxiety, and loneliness. Her work was wholly autobiographical, inspired by her childhood trauma of discovering that her English governess was also her father’s mistress.[3]
