After returning from years of war coverage, Peter van Agtmael tries to piece together the memory, identity, race, class, and family, in a landscape which has become as surreal as the war he left behind.
Edwin Parker “Cy” Twombly Jr. (1928-2011) was an American painter, sculptor and photographer. He belonged to the generation of Robert Rauschenberg and Jasper Johns but chose to live in Italy after 1957.
His paintings are predominantly large-scale, freely-scribbled, calligraphic and graffiti-like works on solid fields of mostly gray, tan, or off-white colors. Many of his works are in the permanent collections of most of the museums of modern art around the world, including the Menil Collection in Houston, the Tate Modern in London and the New York’s Museum of Modern Art. He was also commissioned for the ceiling of a room of the Musée du Louvre in Paris.
Many of his later paintings and works on paper shifted toward “romantic symbolism”, and their titles can be interpreted visually through shapes and forms and words. Twombly often quoted the poets as Stéphane Mallarmé, Rainer Maria Rilke and John Keats, as well as many classical myths and allegories in his works.
From 1955 to 1959, he worked in New York, where he became a prominent figure. Exposure to the emerging New York School purged figurative aspects from his work, encouraging a simplified form of abstraction. He became fascinated with tribal art, using the painterly language of the early 1950s to invoke primitivism, reversing the normal evolution of the New York School. Twombly soon developed a technique of gestural drawing that was characterized by thin white lines on a dark canvas that appear to be scratched onto the surface. His early sculptures, assembled from discarded objects, similarly cast their gaze back to Europe and North Africa.
Together with Rauschenberg and Jasper Johns, Twombly is regarded as the most important representative of a generation of artists who distanced themselves from abstract expressionism.