{"id":102689,"date":"2016-09-16T10:30:34","date_gmt":"2016-09-16T14:30:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=102689"},"modified":"2016-09-19T11:27:31","modified_gmt":"2016-09-19T15:27:31","slug":"reading-cy-twombly","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/09\/16\/reading-cy-twombly\/","title":{"rendered":"Reading Cy Twombly"},"content":{"rendered":"

These images, selected from my book\u00a0Reading Cy Twombly: Poetry in Paint<\/em><\/a>, indicate the range and provocation of Cy Twombly\u2019s works on canvas and paper, pointing especially to his inventive use of literary quotation and allusion throughout his long career and his relation to poetry as an inspiration for his art.<\/p>\n

 <\/p>\n

\"1\"<\/a>

George Seferis, \u201cThree Secret Poems,\u201d in M. Byron Raizis, Greek Poetry Translations: Views, Texts, Reviews<\/i> (Athens: Efstathiadis, 1983), 164\u201365; copy marked by Cy Twombly. Reproduced courtesy Alessandro Twombly. Photo: British School at Rome.<\/p><\/div>\n

Twombly\u2019s working copy of a paperback translation of Three Secret Poems<\/em>, by the twentieth-century Greek poet George Seferis, shows his hands-on approach to quotation and revision as well as paint stains from his work in progress. A number of marked passages reappear in Twombly\u2019s paintings of the mid-1990s, notably in Quattro Stagioni<\/em>\u00a0(1993\u201394) and Say Goodbye, Catullus, to the Shores of Asia Minor <\/em>(finally completed in 1994).<\/p>\n

\u00a0<\/p>\n

<\/a>

Cy Twombly, Venus and Adonis<\/i>, 1978, oil, crayon, pencil on paper, 28″ \u00d7 39 1\u20442″. Collection Stephen Mazoh, New York. \u00a9 Cy Twombly Foundation.<\/p><\/div>\n

One of a sequence of related drawings, Venus and Adonis <\/em>(1978) wittily alludes to Shakespeare\u2019s poem of the same title. Along with a series of cleft heart-shaped (buttock-shaped?) and phallic forms poised in suggestive proximity, each drawing contains a flower-like scribble and a foldout book. Perhaps Twombly is alluding to the \u201cflowers\u201d of poetry as well as to Venus\u2019s rival, the boar who gores Adonis with his amorous tusk.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, Il Parnasso<\/i>, 1964, oil paint, wax crayon, lead pencil, colored pencil on canvas, 80 3\u20444″ \u00d7 85 7\u20448″. Collection Mr. and Mrs. Graham Gund. \u00a9 Cy Twombly Foundation. Photo courtesy Gallery Heiner Bastian.<\/p><\/div>\n

Il Parnasso<\/em> (1964) riffs on Raphael\u2019s Renaissance fresco in the papal Stanza della Segnatura. Twombly responds in his own fashion to the auratic cultural icons of Rome, drawing attention to the missing role of painting in the representation of learning and culture. The play of line replaces the playing of Apollo\u2019s lyre at the apex of Raphael\u2019s design. Signing himself in the shuttered rectangular window around which Raphael\u2019s fresco arches, Twombly draws attention to the flat surface of the \u201cwail\u201d or support.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, Poems to the Sea<\/i>, XIX, 1959, oil-based house paint, pencil, wax crayon on paper, 12 3\u20444″ \u00d7 12 3\u221516″ in. \u00a9 Cy Twombly Foundation. Photo courtesy Gallery Heiner Bastian.<\/p><\/div>\n

The early series of works on paper\u00a0Poems to the Sea<\/em> (1959) shows Twombly\u2019s use of horizon line, wave signs, and quasi-writing, along with thick creamy paint, to eroticize the abstract play of repetition. In a series that makes reference to Sappho, Twombly also seems to be alluding to the typographical experiment of Mallarm\u00e9\u2019s shipwreck poem, Un Coup de D\u00e9s<\/em>, as a sequence of rhythmic marks and blanks. Non-referential signs tussle with the impulse to \u201cread\u201d and \u201cwrite,\u201d as if words and thoughts were about to be born from the waters of the Mediterranean.<\/p>\n

 <\/p>\n

\"5\"<\/a>

Cy Twombly, Synopsis of a Battle<\/i>, 1968, oil-based house paint, wax crayon on canvas, 68 \u00d7 81 3\u20444″. Anne and William J. Hokin Collection. \u00a9 Cy Twombly Foundation. Photo courtesy Gallery Heiner Bastian.<\/p><\/div>\n

Synopsis of a Battle<\/em> (1968) takes Twombly\u2019s blackboard paintings of the late 1960s in the direction of the era\u2019s obsession with space travel, alluding to the blackboard calculations of NASA<\/small> scientists as well as his own fascination with weightlessness. Abstruse mathematical formulas and recurrent fan shapes suggest orbiting gyrations, rather than battle formations. Cyanotype blueprints for gravity-defying Gemini and Apollo spacecraft were widely available at the time. Here, Twombly designs his own prototype.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, Untitled [Mainomenos], Bacchus, 1st version IV,<\/i> 2004, acrylic, wax crayon on wooden panel, 98 1\u20442″ \u00d7 74 3\u20444″. \u00a9 Cy Twombly. Photo courtesy Gagosian Gallery.<\/p><\/div>\n

Twombly\u2019s paired paintings, Bacchus Psilax<\/em> and Bacchus Mainomenos<\/em> (2004) show the winged Bacchus morphing into his identical twin, the raging mad god who unleashes a title of blood. Painted during the bloodiest years of the Iraq occupation, when the first and second Battles of Fallujah brought the heaviest urban fighting since the Vietnam War, the Bacchus series has been linked to the fury of Achilles\u2019s twelve-day brutalization of Hector\u2019s body, towed around the grave mount of Patroclus. Twombly\u2019s work elsewhere refers to the destruction of Sumerian cultural heritage.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, Hero and Leandro, Part II<\/i>, 1981\u201384. oil-based house paint, oil paint (paint stick) on canvas, 61 3\u20448″ \u00d7 80 1\u20442″. \u00a9 Cy Twombly Foundation. Photo courtesy Karsten Greve, St. Moritz.<\/p><\/div>\n

The middle painting from Twombly\u2019s sequence,\u00a0Hero and Leandro<\/em> (1981\u201384), suggests his interest in the whiteout\u2014an obliteration that is also a kind of memory. As the sea washes through the story of Leandro\u2019s drowning, the liquidity of water and paint eradicate the visible. Drawing on another Mediterranean narrative, Twombly combines his lifelong fascination with the sea with the erasure of a forgotten name, hidden in the darkness at lower right\u2014not Leandro\u2019s, but Hero\u2019s.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, Untitled (To Sappho)<\/i>, 1976, oil, wax crayon on drawing cardboard, 59″ \u00d7 53 1\u20444″. \u00a9 Cy Twombly Foundation. Courtesy Archives Fondazione Nicola Del Roscio.<\/p><\/div>\n

Twombly\u2019s \u201chomage\u201d to Sappho in Untitled (To Sappho)<\/em> (1976) creates an erotic visual poem out of Sappho\u2019s fragmentary epithalamium, using purple (the mark of consummation and death) both to celebrate and to mourn Hyacinthus\u2019s death and transformation into a flower. The juxtaposition of paint and poetry marks the conjunction of the pastoral strain and the pastoral \u201cstain\u201d\u2014painting and sexuality. Twombly\u2019s relation to pastoral suggests, not so much nostalgia as the modern artist\u2019s inextricable entanglement with sociality.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, Orpheus<\/i>, 1975, collage: oil paint, color pencil, scotch tape on paper, 55 1\u20442″ \u00d7 39 3\u20448″. \u00a9 Cy Twombly Foundation. Courtesy Archives Fondazione Nicola Del Roscio. Photo: Mimmo Capone<\/p><\/div>\n

Twombly\u2019s recurrent preoccupation with Rilke\u2019s Orpheus sonnets emerges in numerous paintings, drawings, and sculptures. His collage Orpheus<\/em> (1975) quotes from Rilke\u2019s \u201cBe in advance of all parting\u201d (\u201cbe a ringing glass that shivers even as it rings\u201d), beneath a repeated broken line that seems to record a break in the fabric of life. Here, an oblique line has its start in the faint pink of erotic passion. Spare and epitaphic, the broken ascent echoes Rilke\u2019s emphasis on \u201cthe realm of decline\u201d inhabited by the poet.<\/p>\n

 <\/p>\n

<\/a>

Cy Twombly, The Rose (Part V)<\/i>, 2008, acrylic on four wooden panels, 99 1\u20444″ \u00d7 291 3\u20448″. Gagosian Gallery. \u00a9 Cy Twombly Foundation. Image courtesy Gagosian Gallery.<\/p><\/div>\n

Part five\u00a0of Twombly\u2019s late sequence,\u00a0The Rose<\/em> (2008), draws on Rilke\u2019s sequence of French poems to address the riddle of the incommensurability of word and thing, word and image\u2014the conundrum of poetry itself. Drawing on stanzas that Rilke himself omitted, Twombly explores the strange green of darkness and the alternation between seeing and not seeing: eyes wide shut, in the image of Rilke\u2019s \u201cLivre-mage<\/em>,\u201d the enchanted book that forms the subtext or the dream-text of Twombly\u2019s multi-petal sequence.\u00a0\u00a0\u00a0\u00a0 \u00a0<\/p>\n

Mary Jacobus is professor emerita of English at the University of Cambridge and Cornell University, and an Honorary Fellow of Lady Margaret Hall\u00a0at the\u00a0University of Oxford. She has written widely on visual art, Romanticism, feminism, and psychoanalysis. Her recent books include <\/em>The Poetics of Psychoanalysis and <\/em>Romantic Things. She lives in Ithaca, New York, and Cambridge, UK.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

These images, selected from my book\u00a0Reading Cy Twombly: Poetry in Paint, indicate the range and provocation of Cy Twombly\u2019s works on canvas and paper, pointing especially to his inventive use of literary quotation and allusion throughout his long career and his relation to poetry as an inspiration for his art.   Twombly\u2019s working copy of […]<\/p>\n","protected":false},"author":1060,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[35,24564,2777,8586,4154,7221,165,160,24563,4714,9466,10601,24562,2295],"class_list":["post-102689","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-art","tag-bacchus","tag-cy-twombly","tag-george-seferis","tag-paintings","tag-poems","tag-poetry","tag-rainer-maria-rilke","tag-raphael","tag-sappho","tag-space-travel","tag-stephane-mallarme","tag-venus-and-adonis","tag-william-shakespeare"],"acf":[],"yoast_head":"\nReading Cy Twombly: Poetry in Paint<\/title>\n<meta name=\"description\" content=\"Looking at the influence of poetry in Cy Twombly\u2019s art.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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