Cy Twombly

Despite the persistent lack of deserved fame and recognition during his lifetime, Cy Twombly is now widely regarded as one of the greatest American painters. His distinctive aesthetic can be seen as both a continuation of Abstract Expressionist techniques and deeply rooted in the European artistic traditions of the Old Continent. 

Biography of Cy Twombly

Edwin Parker Twombly Jr. was born in Lexington, Virginia, in 1928. From a young age, he was known as Cy, following the tradition of his father, who had played for the Chicago White Sox, earning the nickname from the famed baseball player Cy Young. Despite his parents' Northeastern roots and frequent trips to Massachusetts and Maine, Twombly was brought up in the South, which became a defining part of his identity and a significant influence on his future artistic endeavors.

Even as a young child, Twombly showed an interest in art, often working on art kits he ordered from the Sears Roebuck catalog to pass the time more quickly. During his periodic visits to the South, he began to develop his artistic skills through playful experimentation, using art as a means of alleviating boredom.

Encouraged by his parents, Twombly's passion for art continued to grow. At the age of twelve, he studied under the Spanish modern painter Pierre Daura. However, at that time, painting was seen as more of a hobby than a potential career for Twombly, and no one could have predicted that he would later become a professional artist.

After graduating from high school with encouragement, Twombly embarked on formal art training at the School of the Museum of Fine Arts in Boston, Massachusetts. At this renowned institution, Twombly was introduced to the artistic concepts of early 20th-century Europe, encountering the works of Marcel Duchamp, Kurt Schwitters, and Alberto Giacometti for the first time. These experiences ignited Twombly's desire to explore more about Dadaistic and Surrealistic ideas.

In line with this interest, Twombly's parents suggested he spend a year in Washington, D.C., to explore the art scene in the capital of the United States. This trip proved fruitful, leading to connections that opened doors for him to study at the Art Students League in New York in 1950. Exposure to the works of Franz Kline, Jackson Pollock, and Robert Motherwell steered Twombly towards abstraction, significantly shaping his aesthetic away from his earlier figurative compositions.

During his time in New York, Twombly also developed a close friendship with Robert Rauschenberg, another significant artistic influence. At Rauschenberg's urging, Cy furthered his studies at the legendary Black Mountain College in North Carolina from 1951 to 1952. Following this, the two artists received a grant from the Virginia Museum of Fine Art, which enabled them to travel to Italy and North Africa.

Upon their return to the United States, the artistic duo of Rauschenberg and Twombly held a joint exhibition in 1953 at The Stable Gallery in New York City. Here, they showcased their experimental works rooted in unique and original concepts. However, the reception was far from positive. Gallery director Eleanor Ward reportedly removed the visitor comments book due to the overwhelming number of hostile and negative responses from the public.

In 1953, Twombly's artistic progress was interrupted when he was drafted into the army. Serving as a cryptographer at Camp Gordon near Augusta, Georgia, and later at the Pentagon in Washington, D.C., Twombly spent his weekend leaves primarily in his hotel room, creating biomorphic drawings. These drawings, according to Twombly, set the artistic direction for everything that followed. 

Between 1955 and 1959, Cy Twombly worked intermittently in New York City, somewhat overshadowed by the emerging talents of Robert Rauschenberg and Jasper Johns. Seeking a change of scenery, he returned to Rome, where he met and married the Italian artist Baroness Tatiana Franchetti. The couple tied the knot in 1959. They then acquired a palazzo on the Via di Monserrato in Rome and a weekend retreat in the seaside town of Gaeta.

Cy Twombly was enamored with Gaeta, finding endless inspiration in the small town. There, his work took on a more tranquil, light tone, beginning to allude to Classical culture and literature, with Greco-Roman themes permeating much of his mature work. Soon after, Twombly gained prominence as part of the roster of artists sponsored by Leo Castelli, holding his first solo show in Italy in 1960.

Meanwhile, back in the United States, things were less favorable. Media circulated photographs of Twombly living in his Roman mansion, which sparked controversy among his former friends and fellow artists. Some were envious, others genuinely angered, accusing the artist of betraying the principles he once championed. However, Twombly chose not to engage with these criticisms and never responded to the ridicule. Throughout the 1960s and 1970s, Twombly's reception was split - the Western art scene often criticized him, while he found adoration in the Italian art scene.

As the 1980s arrived, Twombly's productivity notably decreased. He worked less frequently and didn't exhibit the same artistic vigor as in previous decades. Nevertheless, Cy continued to produce crucial canvas pieces that shaped the art scene and maintained his position as an influential figure. However, after the 1990s, Twombly's artistic output slowed. He battled cancer for several years toward the end of his life and passed away on July 5, 2011, in Rome.

Cy Twombly's Art Style

Drawing from various styles and his ideas, Cy Twombly was deeply influenced by the historical significance and independence of the American South, merging it with his fascination for Greco-Roman mythology and heritage. In Twombly's own words, the most apt description of his portfolio was: "My line is childlike but not childish."

During the early 1950s, Twombly predominantly worked in a black-and-white style, striving to find a balance between Rauschenberg's art and the monochromatic works of artists like Willem de Kooning, Franz Kline, and Robert Motherwell. Cy Twombly's aesthetic drew inspiration from complex theories of primitive, ritualistic practices, and the psychoanalytic concept of the fetish phenomenon. He also continued to incorporate Dadaistic and Surrealistic ideas.

While in the army, Twombly adapted André Breton's technique of automatic drawing, creating compositions in the dark after lights out. These "blind" illustrations resulted in distorted forms and curves that became distinct stylistic elements in his later work.

In the early 1960s, Cy Twombly's projects took on a larger scale and more vibrant colors than ever before, often delving into themes of eroticism and violence. From 1966 to 1972, he created canvases resembling blackboards, with light-colored loops and scrawls flowing across gray backgrounds. Twombly also sought to revive his long-lost interest in sculpting, creating sculptures focused on Classical themes, often using found objects painted in white.

Throughout his later works, Twombly remained inspired by Greco-Roman heritage and his growing fascination with the sea. Bacchus, the god of wine, frequently appeared in his compositions. In the 1990s, his paintings evolved as he expanded his use of color and incorporated gestural brushstrokes that occasionally hinted at more recognizable forms, such as flowers and landscapes.