Cy Twombly

United States (Lexington 19282011 ) - Artworks Wikipedia® - Cy Twombly
TWOMBLY Cy Rome

Sotheby's /Feb 10, 2015
2,530,043.77 - 3,795,065.65
4,863,925.00

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Artworks in Arcadja
743

Some works of Cy Twombly

Extracted between 743 works in the catalog of Arcadja
Cy Twombly - Natural History, Part Ii: Some Trees Of Italy

Cy Twombly - Natural History, Part Ii: Some Trees Of Italy

Original
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Lot number: 114
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Cy Twombly (1928-2011) Natural History, Part II: Some Trees of Italy Cy Twombly (1928-2011) Natural History, Part II: Some Trees of Italy the complete set of eight lithographs, granolithographs and collotypes, 1975-6, on Fabriano Bütten paper, plate I with the transparent paper overlay, each initialled in pencil, numbered 46/98 (there were also 17 artist's proofs), published by Propyläen Verlag, Berlin, printed by Matthieu Studio, Zürich-Dielsdorf, with their blindstamp, the full sheets, with deckle edges at left and right, in very good condition, lacking the original paper-covered portfolio case, all framed (8) I., S. 760 x 565 mm. (8)
Cy Twombly - Nine Discourses On Commodus

Cy Twombly - Nine Discourses On Commodus

Original 1964
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Lot number: 441
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CY TWOMBLY (1928-2011) NINE DISCOURSES ON COMMODUS / BY CY TWOMBLY / AT LEO CASTELLI. 1964. 27 1/2x19 inches, 70x48 1/4 cm. Condition B+: minor creases and tears at edges; light foxing in lower image; light staining at edges and in image; pin holes in corners. Hand-signed by the artist in pencil. Paper.
Cy Twombly - Untitled (new York City)

Cy Twombly - Untitled (new York City)

Original 1970
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Lot number: 26
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Lot Description Cy Twombly (1928-2011) Untitled (New York City) signed and dated '1970 Cy Twombly' (on the reverse) oil based house paint and wax crayon on canvas 57 x 70in. (144.7 x 177.8cm) Executed in 1970 Provenance Giorgio Franchetti, Rome. Annina Nosei Gallery, New York. Gagosian Gallery, New York. Ira Young, Los Angeles. Gagosian Gallery, New York. Private Collection. Anon. sale, Sotheby's New York, 9 May 2012, lot 29. Acquired from the above by the present owner. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Literature H. Bastian, Cy Twombly: Catalogue Raisonné of the Paintings, Volume III 1966-1971, Munich 1994, p. 224, no. 107 (illustrated in colour, p. 225). View Lot Notes >
Cy Twombly - Rome

Cy Twombly - Rome

Original 1969
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Lot number: 4
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Cy Twombly 1928 - 2011 ROME signed and dated 1969 on the reverse oil and wax crayon on paper 70 by 87cm.; 27 1/2 by 34 1/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Galerie Heiner Friedrich, Munich Acquired directly from the above by the present owner in 1971 Exhibited Munich, Galerie Heiner Friedrich, Roman Notes, 1971 Literature Nicola del Roscio, Cy Twombly Drawings: Catalogue Raisonné, Vol. 4, 1964-1969, Munich 2014, p. 227, no. 275, illustrated in colour Broadcasting a frenetic, irresistible energy through its urgent linearity, Cy Twombly’’s Rome is an extraordinary example from the artist’’s famed corpus of ‘Blackboard’’ works. Executed in 1969, Rome represents a visual counterpart to the Bolsena series of the same year. A flurry of sweeping lasso-lines triumphantly course through six horizontal bands of progressively increasing size; their enigmatic configuration is immediately redolent of the formality of typography yet resolutely denies legibility. Indeed, the ‘all-over’’ compositional nature of Twombly’’s vital scrawls jubilantly undermines a central focal point or even specific subject matter. The artist’’s swooping line at times approaches the boundaries of lexical cognition, with visual suggestions of conventional symbols such as figure-of-eight infinity signs, parabolic curves or alphabetical letters, but ultimately any prescribed attributions of sign referents are consumed by the physical properties of pure form. Ultimately, this is a work of art that fully embraces an unrelentingly free association between painting and language, to become a distinctly lyrical form of abstraction and an exemplar of sublime visual poetry. Abruptly renouncing the rich, Baroque style of his earlier 1960s work, in 1966 Twombly turned his focus back to the restrained monochrome works that he first embarked upon in the 1950s. In this pivotal series the Mallarméan silence of his early white paintings gives way to vital movement and progression, which offers itself up for comparison with the linear musical scores of Twombly’’s contemporary and the minimalist musician, John Cage. Retracing the famed Vasarian paradigm of colore (colour) versus disegno (design) in this series Twombly relinquished all claims to the emotive power of saturated colour, a force that had characterised much of his earlier work, in favour of matte grisaille in the pursuit of a more expressive clarity. To create the mesmerising surface of the present work, Twombly built up his ground through successive applications of tonally different grey oil paint. After the paint had almost dried, the artist ranged across the tacky surface in a frenzied manner, looping and swirling in a linear fashion with a chalky white wax crayon as though a schoolmaster frenetically scrawling on a classroom blackboard. In doing so, as Heiner Bastian succinctly explains, “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 his energy towards exploring the expressive possibilities of autonomous rhythmic repetitions. The resultant works, such as Rome, are amongst the most expressive and powerful pieces in his oeuvre. Within Twombly’’s rich and varied practice, the ‘Blackboard’’ paintings symbolise a decisive break from the Baroque works of his earlier oeuvre; and thus announced a new dawn in his extraordinary art. Perhaps most tellingly, when the ‘Blackboard’’ paintings were first exhibited at Leo Castelli Gallery, New York, in the autumn of 1967, they were met with critical acclaim. 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 Write," 1968, in: Nicola del Roscio, Ed., Writings on Cy Twombly, Munich 2002, p. 56). Enticingly seductive both in its complexity and compelling directness, the aura enshrouding Rome undoubtedly stems from the enigmatic diversity of its astonishing execution. Animated by an orchestra of linear forms that dance across its surface, Rome recalls a plethora of visual referents from the liberal energy of Jackson Pollock’’s action paintings to the typological Palmer Handwriting drills. Fascinated by capturing both movement and time, Twombly’’s practice was quickly aligned with that of Marcel Duchamp. Akin to the ghostly shadows of Duchamp’’s Nude Descending a Staircase, 1912, Twombly’’s ethereal figure of eights in the present work multiply, recede and climb through the luxuriant surface of the paper. The linear lasso-lines of Rome also recall the Futurist cinematic explorations into forms in motion, specifically Umberto Boccioni's States of Mind III: Those Who Stay, 1911, and its chronicling of a contemporary psychological landscape. While the Futurist principle of movement in space represented something of a novel direction in Twombly's work, it had been at the very forefront of the artistic investigations of a whole generation of Italian artists for over a decade. Where Futurism was centred on the rational, quasi-scientific understanding of movement, Twombly appears to have reacted to the dispersion of forms in which painstaking precision comes into contact with an energetic abandon. For Twombly, as with the enigmatic Francis Bacon, the fractured dissolution of movement stood as though a vehicle for conveying an agitated soul. With all the rough, fractured rawness of street graffiti, Twombly presents an entirely novel visual language that innovatively explores both the most elementary and the most sophisticated concerns posed by the genesis of creativity. Fig. 1 Umberto Boccioni States of Mind: Those Who Stay , 1911 The Museum of Modern Art, New York Image: © Boltin Picture Library / Bridgeman Images Fig. 2 Jackson Pollock One (Number 31) , 1950 The Museum of Modern Art, New York Digital Image: © 2015, The Museum of Modern Art, New York/Scala, Florence Artwork: © The Pollock-Krasner Foundation ARS, NY and DACS, London 2015
Cy Twombly - Laurus Nobilis: Natural History Part Ii, Some Trees Of Italy

Cy Twombly - Laurus Nobilis: Natural History Part Ii, Some Trees Of Italy

Original
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Lot number: 83
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Cy Twombly 1928 - 2011 LAURUS NOBILIS: NATURAL HISTORY PART II, SOME TREES OF ITALY (HEINER BASTIAN 55) signed with initials and numbered 13/98, stamped and printed by Matthieu Studio, Zürich-Dielsdorf Executed in 1975-1976. lithograph with collotype 76 x 56 cm., 29 7/8 x 22 in. With deckle edges on two sides, hinged at three spots along the top margin (left, centre and right). Edges curl slightly inward. Soft and very small crease to the extreme lower right corner. Framed under Plexiglas. In good condition. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
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