As Twombly continued to work in various locations over the following decades-including Rome, Lexington, and his final residence, in Gaeta, Italy-places, landscapes, and natural forms came to figure prominently in his drawings, collages, photographs, and watercolors.įor Twombly, the poetic and the rational were not mutually exclusive. Shortly thereafter the sebaceous, bright colors of these works gave way to the more austere grays and blues of the “blackboard” paintings, in which terse, white scrawls and loops recall the powdery effects of chalk on a blackboard. In the late 1950s he moved to Italy, where he produced colorful, diagrammatic works, such as Ode to Psyche (1960), that feature erotic allusions and sly jokes while maintaining an abstract charge. While prevailing tendencies of the period, such as Pop art, sought to abandon historical narratives altogether, Twombly directed his focus toward ancient, classical, and modern poetic traditions. Although he was a contemporary of Robert Rauschenberg and Jasper Johns, his work soon digressed from the aims of American postwar abstraction. Twombly was born in 1928 in Lexington, Virginia, and studied art in Boston and New York, then at Black Mountain College in North Carolina in the early 1950s. Emerging as a prominent figure in the mid-1950s following extensive travels throughout Europe and North Africa, he produced works that are simultaneously personal and mythological, allowing narrative, language, and inner visions to erupt from his intimate, abstract notations. To my mind, one does not put oneself in place of the past one only adds a new link.Ĭy Twombly (1928–2011) developed a gestural vocabulary in which each line and color is infused with energy, spirituality, and meaning.
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