Artist Models & Inspiration (CY TWOMBLY)

https://www.nytimes.com/2011/07/06/arts/cy-twombly-american-artist-is-dead-at-83.html

American Artist Who Scribbled a Unique Path

By RANDY KENNEDYJULY 5, 2011

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Photo

Cy Twombly with his painting "1994 Untitled (Say Goodbye Catullus, to the Shores of Asia Minor)," at the Menil Collection in Houston in 2005. CreditMichael Stravato for The New York Times

Notes from the article:

• He avoided publicity throughout his life and mostly ignored his critics, who questioned constantly whether his work deserved a place at the forefront of 20th century abstraction, though he lived long enough to see it arrive there. It didn’t help that his paintings, because of their surface complexity and whirlwinds of tiny detail — scratches, erasures, drips, penciled fragments of Italian and classical verse amid scrawled phalluses and buttocks — lost much of their power in reproduction.

• once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke.

• But by the 1980s, with the rise of neo-Expressionism, (what is this term?) a generation of younger artists like Jean-Michel Basquiat (RESEARCH) found inspiration in Mr. Twombly’s skittery bathroom-graffiti scrawl. Coupled with rising interest in European artists whose work shared unexpected ground with Twombly’s, like Joseph Beuys. (RESEARCH)

• In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was “the actual experience” of making the line, adding: “It does not illustrate. It is the sensation of its own realization.” Years later, he described this more plainly. “It’s more like I’m having an experience than making a picture,” he said.

• In the summer of 1952, after receiving a grant from the Virginia Museum of Fine Arts, Mr. Twombly traveled to Europe for the first time and met up with Rauschenberg. The two wandered through Italy, North Africa and Spain, an experience that later yielded some of the first paintings to be considered a part of Mr. Twombly’s mature work. “Tiznit,” made with white enamel house paint and pencil and crayon, with gouges and scratches in the surface, was named for a town in Morocco that he had visited, and the painting’s primitivist shapes were inspired by tribal pieces he saw at the ethnographic museum in Rome, as well as by artists like Dubuffet, de Kooning and Franz Kline.

          

http://museumpublicity.com/2011/03/11/museum-of-modern-art-to-acquire-important-group-of-paintings-and-sculptures-by-cy-twombly/

• In 2010, the Louvre unveiled a ceiling painting it commissioned by Mr. Twombly, a 3,750-square-foot work in the museum’s Salle des Bronzes, next door to a ceiling triptych created more than half a century before by Georges Braque. The work is as calm and classical as his many of his early paintings were stormy and scatological: a listing of Hellenic sculptors against a deep blue background with planet-like discs. Characteristically, Mr. Twombly said little about the work.

            

http://www.parisdeuxieme.com/2010/03/meet-new-ceiling-at-louvre.html

          

https://www.theatlantic.com/national/archive/2011/07/cy-twombly-dead-83-rome/352488/

Some Google Images of Cy Twombly's Work:

Sperlonga collage, 1959
Sperlonga
Collage (irregularly torn and folded semi-transparent glassine paper shred): oil based, house paint
85 x 62 cm
32 15/16 inches x 24 7/16 inches

Untitled, 1986
Porto Ercole
Acrylic, oil paint
54.1 x 71.9 cm
21 5/16 x 28 5/16 inches

Untitled, 1989
Gaeta
Collage: (drawing paper, shredded drawing paper, transparent adhesive tape, glue), acrylic, pencil, wax crayon
105 x 74 cm
41 5/16 x 29 1/8 inches

http://www.cytwombly.org/artworks/drawings/24

 

Cy TwomblyUntitled (Grottaferrata) (No’s 3-7)
1957
Wax crayon and lead pencil on squared paper
7 drawings: 21,6 x 29,9 cm (each)
Private Collection
© Cy Twombly Foundation, courtesy Galerie Karsten Greve, St.

Cy TwomblyView of the series Nine Discourses on Commodus1963
Guggenheim Bilbao Museo, Bilbao
© Cy Twombly Foundation

Cy TwomblyPan1975
Oil pastel and collage on paper
148 x 100 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives
Nicola Del Roscio

https://artblart.com/tag/cy-twombly-pan/

 Luminous, watery tones: Cy Twombly's painting Hero and Leandro. Photograph: Gagosian Gallery

https://www.theguardian.com/artanddesign/2011/jul/06/cy-twombly-obituary

Fifty Days at Iliam Shades of Achilles, Patroclus and Hector (1978), Cy Twombly. © Courtesy of Philadelphia Museum of Art, Philadelphia

https://www.apollo-magazine.com/cy-twombly-francophile/