Twombly and the Evolution of Telecom Regulation - Warrington
Cy Twombly
Transcript of Cy Twombly
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Sotheby'sContemporary Art Evening Auction
New York | 09 May 2012, 07:00 PM | N08853
LOT 29
PROPERTY OF A DISTINGUISHED PRIVATE COLLECTORCY TWOMBLY 1928 - 2011
UNTITLED (NEW YORK CITY)
signed and dated 1970 on the reverse
oil based house paint and wax crayon on canvas
56 1/2 x 70 in. 143.5 x 177.8 cm.
ESTIMATE 15,000,000-20,000,000 USD
Lot Sold: 17,442,500 USD
PROVENANCEGiorgio Franchetti, Rome
Anina Nosei Gallery, New York
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Gagosian Gallery, New York
Ira Young, Los Angeles
Gagosian Gallery, New York
LITERATUREHeiner Bastian, ed. Cy Twombly: Catalogue Raisonné of the Paintings, Volume III 1966-1971, Munich, 1994, cat. no.
107, p. 225, illustrated in color
CATALOGUE NOTE"Cy Twombly tries to shatter form as well as its concomitant intellectual and narrative history in a kind of relativism,
reducing it to a rationality of 'black and white' that is at the same time the structural sum of all movement" (Heiner
Bastian, ed. Cy Twombly: Catalogue Raisonné of the Paintings, Volume III 1966-1971, Munich, 1994, p. 23)
"Handwriting has become for Twombly the means of beginning again, of erasing the Baroque culmination of the
painting of the early 1960s...beautiful writing has been submerged within a Jasper Johns-like gray field. Put bluntly, it
has been drowned in a schoolmaster's blackboard." (Robert Pincus-Witten, "Learning to Write," 1968, in: Nicola del
Roscio, ed., Writings on Cy Twombly, Munich, 2002, p. 56)
A panoramic expanse pulsating with the expansions and contractions of Cy Twombly's organized chaos, Untitled
(New York City) of 1970 broadcasts a vital and irresistible energy as one of the artist's most important works. The
current of its urgent linearity courses through six semi-determinate horizontal bands of progressively increasing size,
their enigmatic configuration immediately implicating the formality of typography yet resolutely denying accessible
legibility. The all-over rolling sweeps of lasso-line mark-making cover the entire canvas and triumphantly undermine
any preoccupation with a central compositional motif or even the diversion of specific subject matter. The act of
erasure and over-drawing dramatically destabilizes the intended legibility of handwriting and the cipher of language
held therein. Twombly's line repeatedly nears the precipice of lexical recognition, with suggestive echoes of
conventional pictographs such as figure-of-eight infinity signs and nascent parabolic curves as well as alphabetical
letters, but ultimately any prescribed attributions of sign referents are overruled by the physical properties of pure
form. Aggregations of Twombly's partially-erased, smeared and overwritten scrawls accumulate like geological strata:
mnemonic shadows narrating successive past acts of creation. Evoking the spatial and temporal dimensions of an
archaeological portrait of History, the seismic turbulence of the jagged line attests a labyrinth of conflicting forces like a
natural phenomenon. The resultant composition embraces an unremittingly free association between painting and
language, becoming a distinctly lyrical form of abstraction and, quite simply, the archetype of sublime visual poetry.
Accessing vaults of response that are at once intellectual and emotional, visual and psychological, Untitled (New York
City) stands as a total work of art; a conceptual and aesthetic gesamkunstwerk that achieves an unprecedented
universality. With the unsophisticated rawness of illegible graffiti Twombly invents a transcendent new visual language
to interrogate both the most elementary and the most sophisticated concerns posed by the genesis of creativity.
In 1966 Cy Twombly abandoned the emotive use of color that had defined much of his earlier output to embark upon
a cycle of matte grey canvases in search of a more expressive clarity. As Heiner Bastian has deftly explained, "Cy
Twombly tries to shatter form as well as its concomitant intellectual and narrative history in a kind of relativism,
reducing it to a rationality of 'black and white' that is at the same time the structural sum of all movement." (Heiner
Bastian, ed. Cy Twombly: Catalogue Raisonné of the Paintings, Volume III 1966-1971, Munich, 1994, p. 23).
Extraneous literary and historical concerns were cast aside as Twombly sought to channel the vitality of his wrist
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towards exploring the expressive possibilities of autonomous rhythmic repetitions. The process of drawing for
Twombly embodied the paradox of time and the convergence of many seemingly dissimilar elements here into a
single composition disclosing the intricacies of his profound visionary awareness. The reduction of form to its most
elegant and elementary essence seduces the viewer into the hidden complexity and depth of the image. Unlike the
static, semi-figurative black and white paintings of Twombly's formative years in the early 1950s, these new grey
canvases saw the centrifugal energy and erotic charge of Twombly's Baroque-inspired early 1960s paintings
transferred into a rhythmic discourse of mood and movement. The resulting canvases, such as Untitled (New York
City), are some of the most powerful and lyrical works of his career.
Like some of Twombly's earlier compositions founded upon the musical theory of Counterpoint, the rhythmical
harmony of Untitled (New York City) is animated by a symphony of non-descript linear forms which dance across the
canvas, recalling Palmer handwriting drills or Paul Klee's Pedagogical exercises. In undertaking the challenge of
capturing movement in time and space, Twombly aligned himself to the godfather of the Avant Garde, Marcel
Duchamp. Like the shadows of Duchamp's Nude Descending a Staircase, the ethereal figure of eights - borrowed
perhaps for their mathematical associations with infinity - multiply, recede and climb through the surface of the canvas.
The linear repetition of Twombly's painting also recalls Futurist investigations into the cinematic decomposition of
forms in motion, specifically Umberto Boccioni's States of Mind III: Those Who Stay and its charting of a contemporary
psychological topography. While this represented a new departure in Twombly's work, the Futurist principle of
movement in space had been of utmost importance to the artistic investigations of a whole generation of Italian artists
for over a decade. However, whereas the Italian revival of Futurism was predominantly for its rational, semi-scientific
dissection of movement, Twombly seems to have reacted more intuitively to the dispersion of forms in which analytic
precision collides with a spontaneous, energetic flux. Like Umberto Boccioni and later Francis Bacon, for Twombly the
fractured dissolutions of movement became a metaphorical means of conveying agitations of the soul.
Twombly's grey paintings also indicate an inspirational debt to the scientific notebooks drawings of Leonardo da Vinci.
Like Joseph Beuys, Twombly saw within the Renaissance master's innumerable scientific formula, scattered drawings
and codes a private poetry of obsession; something driven by an irrational demon of secret knowledge which struck a
chord with Twombly's own aesthetic. Above all though, perhaps it was the realization that the Renaissance clarity and
light so often used to describe Italian art were balanced by a darker, neurotic intensity. This is reflected by the
destructive and turbulent themes of Leonardo's work to which Twombly was consistently drawn in the late 1960s:
those of maelstroms and cataclysms.
In spite of the undisputable Italian influences, Twombly found in the relative coolness of the dark-ground style an
appropriate form of work to pursue in New York. Working from studios on the Bowery, the relative chasteness and
severity of his new aesthetic compared to the sensual pleasures of the early 1960s seemed more in sync with
contemporary trends in America. In Untitled (New York City), the freedom of movement of course evokes the liberal
energy of Jackson Pollock's action painting, while the all-over but low-pressure imagery is similar to Jasper Johns
grey paintings. By 1970 the aesthetics of Minimalism had also become a dominant philosophical current in
contemporary art. In formal terms, Twombly's white on black paintings certainly share the reductive ethos of
Minimialism's severe vocabulary. However, to wantonly link the grey paintings to the systematic asceticism of
Conceptualism and Minimalism would be to spuriously overlook the intrinsic tonal variety and expressive layered
complexity of their thinly washed surfaces, and deny urgency to the individual fluctuating energies of their intensely
worked linear forms. For Twombly the blackboard paintings represented emancipation from the associative
constrictions of his preceding oeuvre: a new dawn in his epic art as attested by Robert Pincus-Witten in a
contemporaneous review: "Handwriting has become for Twombly the means of beginning again, of erasing the
Baroque culmination of the painting of the early 1960s...beautiful writing has been submerged within a Jasper Johns-
like gray field. Put bluntly, it has been drowned in a schoolmaster's blackboard." (Robert Pincus-Witten, "Learning to
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Write," 1968, in: Nicola del Roscio, ed., Writings on Cy Twombly, Munich, 2002, p. 56). Seductive both in its
complexity, depth and surface directness, the aura and myth surrounding Cy Twombly's Untitled (New York City)
stems from the singularity and enigmatic diversity of its execution.
Fig. 1
Cy Twombly in Rome, circa 1962 Photo: Werner Schloske
Fig. 2
Umberto Boccioni States of Mind: Those Who Stay, 1911 The
Museum of Modern Art, New York / Photo © Boltin Picture Library /
The Bridgeman Art Library
Fig. 3
Jackson Pollock Lavender Mist: Number 1, 1950 National Gallery of
Art, Washington, D.C. / The Bridgeman Art Library © 2012 Pollock-
Krasner Foundation / Artists Rights Society (ARS), New York