His father later became a coach and athletic director at Washington and Lee University. Twombly's parents were from the Northeast, so he made frequent trips to Massachusetts and Maine, but the South, with its sense of history and autonomy, ultimately became an integral aspect of his identity. As a young boy, Twombly ordered and worked on art kits he ordered from the Sears Roebuck catalog.
His parents encouraged his interest in art, and at twelve years old he started studying with the Spanish modern painter Pierre Daura. Following high school, Twombly began formal art training at the School of the Museum of Fine Arts in Boston , where he became interested in the Dadaist and Surrealist work of artists such as Kurt Schwitters and Alberto Giacometti.
At his parents' suggestion, Twombly then spent a year at Washington and Lee's newly created art program before moving to New York in to study at the Art Students League. Exposure to numerous New York gallery exhibitions of artists such as Franz Kline , Jackson Pollock , and Robert Motherwell began to shape Twombly's own aesthetic away from the figurative toward abstraction. While at the League, he met Robert Rauschenberg, who became a close friend and artistic influence. Upon returning, the two artists had a joint exhibition at Stable Gallery in New York, which resulted in such a hostile and negative response from the public that gallery director Eleanor Ward had to remove the visitor comments book.
Twombly's work at this time was largely in black and white, influenced both by Rauschenberg's paintings and the monochromatic work of Willem de Kooning , Franz Kline , and Robert Motherwell. Twombly drew on ideas of the primitive, notions of ritual, and the psychoanalytic concept of the fetish, while taking inspiration from his European travels in these early works. From to , Twombly was drafted into the army, where he served as a cryptographer at Camp Gordon near Augusta, Georgia, and at the Pentagon in Washington, D.
On weekend leaves, Twombly rented an hotel room in Augusta. There, he modified the Surrealist technique of automatic drawing by creating biomorphic drawings at night in the dark. Katharina Grosse reflects on the work of Cy Twombly. Museum Exhibitions.
Photo: Alessandro Zambianchi. Gagosian Gallery trains its lens on photography by Charles Desmarais. Poems Without Words by Raphael Rubinstein. San Francisco - "Plane.
L'opera d'arte prima dell'opera d'arte. Da Gagosian, a Roma by Pericle Guaglianone. Gagosian, trenta artisti alla prova del "bricolage" by Massimo DiForti. Twombly o Burden, quei processi creativi prima dell'opera by Lauretta Colonnelli. The Show Is Over: has painting really had its day? Rauschenberg's Delights by Melissa Stern.
Russian evolution on a factory floor by Marisa Mazria-Katz. Modern Masterpieces by Marina Kamenev. Red September by Kelly Crow. His parents encouraged his interest in art, and at twelve years old he started studying with the Spanish modern painter Pierre Daura. While in the army, Twombly modified the Surrealist technique of automatic drawing by creating compositions in the dark - after lights out.
These "blind" drawings resulted in the kind of elongated, distorted forms and curves that we see in this work. Biomorphic imagery is also apparent in the figurative scrawls giving way to more non-figurative scribbles and markings. Leda and the Swan the title is written in the lower right corner , one of Twombly's most accomplished works, illustrates his career-long attraction to the stories, literature, and events of classical antiquity, an interest that expanded further after he moved to Rome in The title refers to the Roman myth in which Jupiter, transformed into a swan, seduces Leda, who would later give birth to Helen of Troy.
Rather than depict the conventional and erotic imagery of a graceful nude languidly entangled with a swan, Twombly combines diverse media, with the violent and forceful swirls, scratches, and zig-zags flying out in all directions suggesting the presence of Jupiter and the fleshy pinks and ovoid forms suggesting Leda and the eggs that were produced from the union. This "window" provides a stabilizing effect on this otherwise explosive painting, but also amplifies content in its witty paradox of being part of graffiti on a flat wall vs.
As in much of his work, Twombly transformed an ancient myth by becoming Jupiter himself: ravaging the canvas and producing beauty.
As Roberta Smith has commented, "the crux of his achievement was not so much to overturn [Abstract Expressionism]," Oil paint, lead pencil, wax crayon on canvas. For this nine-part series, Twombly took inspiration from Commodus, Emperor of the Roman Empire and son of Marcus Aurelius, who was later assassinated. The series was also painted following the assassination of President John F.
Twombly's frenzied splatters and layers of color against the grey background reflect the volatility and civil war that stemmed from Commodus' oppressive rule that ultimately led to his assassination. Yet, these works also have a structured composition, and each is based around a grid form, perhaps summoning ideas of the imposed order of the Roman Empire. The series as a whole, and perhaps as a sort of narrative, begins with a conflict of two painted white masses that are still contained within the grid structure; it continues with increasing evidence of violence and its consequences, concluding with this panel, where the "victor" and the "vanquished" rise above a frail and single rectangle as if to say that all order has been abandoned.
The "fallout" from such violent acts floating down in the long and empty vertical space below serves as a reminder of the past and a caution to the future; the famous historian Edward Gibbon saw the rule of Commodus as the beginning of the decline of the Roman Empire.
When exhibited at the Leo Castelli Gallery in , when the critical establishment was embracing Minimalism, the series did not receive positive reviews. It is now recognized as a major Twombly work.
For this work, Twombly's composition has taken inspiration and form from ideas of handwriting or mark-making. It is the largest of a group of grey-ground works he created from to evoking blackboards covered in chalk writing. It is said that the feeling of continuous flow in the marks is a product of the way Twombly executed this work as he sat on the shoulders of a friend who moved from side to side in front of the canvas. Yet although his continuous loops and scrawls were inspired, in part, by handwriting drills, Twombly's repetitive, rhythmic drawing does not create specific words.
The painted background creates a luminous glow suggesting a potentially enlightened state of mind and being, as the artist - and by extension humanity - frantically, and perhaps futilely, summons the "logos" or word, making marks to name things and trying to understand them. Since they are constructed mostly of found objects, many observers see his sculpture as a three-dimensional record of the artist's life.
Late in his career, Cy Twombly added more bright color to his work, and on occasion his pieces were representational, such as his massive late-career paintings of roses and peonies.
Classical Japanese art influenced these works; some are even inscribed with Japanese haiku poetry. One of Twombly's final works was the painting of the ceiling of a sculpture gallery at the Louvre museum in Paris, France. He died of cancer on July 5, , in Rome, Italy. Twombly avoided the trappings of celebrity for most of his career. He chose to let his painting and sculpture speak for themselves.
The Milwaukee Art Museum presented the first Twombly retrospective in Many see Twombly's work as a significant influence on important contemporary artists. Echoes of his approach to symbolism are seen in the work of Italian artist Francesco Clemente. Twombly's paintings also presaged the large-scale paintings by Julian Schnabel and the use of scribbling in the work of Jean-Michel Basquiat.
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