Innocence and experience: the art of Louise Bourgeois

Louise Bourgeois, undated photograph
Photograph: Christopher Felver

Bourgeois pictured with her sculpture Eye to Eye (1970)
Photograph: Guggenheim Museum

Arch of Hysteria (1993), one of Bourgeois's many bronze sculptures
Photograph: Horacio Villalobos

Fragile Goddess (foreground), 1970
Photograph: Chris Gardner

A closeup view of Sublimation (2004) Photograph: Sarah Lee for the Guardian

Another view of Sublimation (2002) Photograph: Sarah Lee for the Guardian

St Sebastienne (1992), one of Bourgeois's doll-like, dangerously vulnerable fabric works
Photograph: Chris Gardner

Three Horizontals (1998)
Photograph: Horacio Villalobos

Alongside sculpture and installation, Bourgeois contined drawing throughout her career. These are her Insomnia drawings (1994–95)
Photograph: Frank Baron

Be Calme, part of Sublimation (2002) Photograph: Sarah Lee for the Guardian

Bourgeois was the first artist to fill Tate Modern's cavernous Turbine Hall in 2000. The work – entitled I Do, I Undo and I Redo – was composed of three towers, each some 9 metres high
Photograph: Sean Smith

The artist's fascination with the figure of the spider – endlessly fertile mother and sinister predator – made itself felt in numerous works. This is Maman (1999), an enormous sculpture that took up residence on the banks of the Thames in 2007
Photograph: Linda Nylind

Maman also crawled her way to a spot outside the Guggenheim in Bilbao, Spain
Photograph: Alfredo Alday

Je T'Aime (detail), 2005 Photograph: Christopher Burke Christopher Burke Christopher Burke Christopher Burke

Bourgeois with her sculpture Baroque (1970) Photograph: Ted Thai/Getty Images