Cy Twombly: Fifty Years of Works on Paper by Cy Twombly
- Book discovered about 1 month ago
Cy Twombly is undoubtedly the most sensitive mind among the greats of contemporary art. His work finds its most personal expression in the small, intimately sized drawings which he has from the very outset produced by way of accompaniment to his paintings: they not only reflect all the stages in the development of his painterly oeuvre but essentially also transcend it. Our book covers the major retrospective which the Hermitage has organized to celebrate the 300th anniversary of the City of St. Petersburg. The eighty-four drawings on display here, most of them from the artist's own collection, date from between 1953 and 2002 and thus embrace his entire oeuvre, from the early monotypes to the major mythological cycles of later years. This unique retrospective on fifty years of his marvelous drawings fully reveals just how fascinating Twombly's aesthetic approach is and attests to his great talent for invention.When the Hermitage in St. Petersburg celebrated the city's 300th anniversary in 2003, they assembled a selection of 50 years of Cy Twombly's works on paper, coinciding with the artist’s seventy-fifth birthday. At first look, even the most savvy and well-heeled art lover is apt to think "my kid could do that," and there is a (very surface) bit of truth to this. Twombly, an American who moved to Rome in the 1950s, was obviously influenced by Jean Dubuffet's idea of art brut, as well as the work of Paul Klee, and of children. But it doesn't take long to see Twombly's genius. He created something very new with the pure gestures of abstract expressionism, and in this survey it's a joy to see the ways his work constantly changed, from adopting some of the formal strictures of minimalism in the 1970s to embracing vivid colors in the 1980s. Like the graffiti scratches (ancient and modern) that are perhaps Twombly’s greatest influence, it's very playful, often rather dirty work. Unlike graffiti, it's exceptionally labored over. Once you can decipher his scratchy line, you notice that the subtle interplay of words and images is matched by very few others, though the work of Raymond Pettibon and Nancy Spero do spring to mind. Assembled for the St. Petersburg's show's arrival at the Whitney Museum in New York City, this book is a joy. Simon Schalma's essay is ribald, terse and excellent, while Roland Barthes’ writing is, unsurprisingly, worth the price of the book alone. In a review for the New York Times of the show at the Whitney that this book accompanies, Holland Coter wrote that Twombly's early highly referential works are "as if Western cultural history was unfolding on the walls of a toilet stall." It's hard to think of higher praise. --Mike McGonigal
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