Cy Twombly Livres

Chefs d'uvre L'exposition d'ouverture du centre Pompidou-Metz.

The Centre Pompidou will present a major retrospective of the work of American artist Cy Twombly bringing together works from public and private collections around the world. The comprehensive showcase will be structured around three major cycles: Nine Discourses on Commodus, 1963, Fifty Days at Iliam, 1978, and Coronation of Sesostris, 2000, and will span the artist's entire career, from his first works in the early 1950s to his last paintings. Presented chronologically and featuring some 140 paintings, drawings, photographs, and sculptures, the exhibition will provide what the Centre Pompidou describes as a clear picture of an extraordinarily rich body of work which is both intellectual and sensual. In addition to emphasizing the importance of series and cycles in Twombly's practice, through which he reinvented history painting, the exhibition will also highlight the artist's close relationship with Paris.

Cy Twombly is one of the most prominent artists of our time. Although primarily known for his paintings and drawings, which have been exhibited widely throughout the world, he has been engaged in sculpture making from the outset of his career. This volume presents 117 sculptures and 30 casts spanning the years 1946 to 1997, many of which have never been seen before. It represents the entirety of Twombly's sculptural output, which includes bronzes as well as pieces made in wood, plaster and other materials. These works have come to the attention of the public through a recent exhibition that travelled to the Menil Collection in Houston during 2000. Also included is an essay by the philosopher and art critic Arthur Danto, as well as comprehensive biographic, exhibition and bibliographic information.

Cy Twombly, born in Lexington, Virginia, in 1928, entered the stage of contemporary art with his drawings. His nervous line making distinguished him from all his colleagues who in the 50s and 60s were involved in Abstract Expressionism. His tumbling and nervous markings opened new psychological spaces to a personal and very conceptual art. At first mistaken for something between graffiti and criture auto matique, Cy Twombly s graphic notes eventually transformed into huge canvases of paintings in which he incorporated these notes as a maelstrom of emotional states. The Catalogue Raison of the Drawings and Sketchbooks edited by Nicola Del Roscio will be published in five volumes. The first volume contains the drawings of the years 1951 to 1955.

One of the essential artists of our time, Cy Twombly is known primarily for his paintings, but his lesser-known sculpture oeuvre is an important dimension of his work as an artist. This large-format publication reveals his extensive body of sculptural work. Inspired by Kurt Schwitters, Giacometti and Surrealist object art, some of his early assemblages date back to the 1950s. These pieces are composed of everyday found objects, which Twombly arranged in the vein of magical or fetishistic objects. Later he began to cover them with a uniform coat of white paint. Thus placed in a new formal context, the original meaning of the individual pieces is blurred, connecting them with a wide range of cultural references. Literature and music, landscape and plantlife are all evoked. Twombly's sculptures are always white, exuding both an odd, ethereal quality and an aura of timeless poetry.

Some of the most representative tendencies of the second half of the 20th century are represented in the private collection of German Reinhard Onnasch, which features work by Hans Hofmann, Robert Motherwell, Morris Louis, Barnett Newman, Cy Twombly, Robert Rauschenberg, Claes Oldenburg, Andy Warhol, Edward Kienholz, Dan Flavin, Hans Haacke, Robert Smithson, Mike Kelley, Dan Graham, Lawrence Weiner, Jason Rhoades, and others.Essays by Boris Groys, Petra Kipphoff. Artworks by Dan Flavin, Dan Graham, Hans Haacke, Hans Hofmann, Mike Kelley, Edward Kienholz, Morris Louis, Robert Motherwell, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, Robert Smithson, Cy Twombly, Andy Warhol, Lawrence Weiner. 8.75 x 10.5 in.110 color illustrationsEnglish/Portuguese

Volume 6 covers the years 1972 to 1979, when Cy Twombly made several attempts to vigorously widen his artistic work. He completed his 24 Short Pieces followed by the series Natural History I and Natural History II. In both series he developed a kind of collage technique using postcards, found reproductions, and photographs—a stylistic device he integrated in his drawings and other works on paper, foreshadowing the future body of his own photographic work. In 1979 he staged the first exhibition of his sculptures premiering in Naples. Simultaneously he presented a solo exhibition at the Whitney Museum in New York and made a first attempt of a catalogue raisonné of drawings with Yvon Lambert in Paris. The ambitious project, for which Roland Barthes wrote an essay, was abandoned after two volumes and was resumed several years later by the present Schirmer/Mosel edition.

Cy Twombly, born in Lexington, Virginia, in 1928, entered the stage of contemporary art with his drawings. His nervous line making distinguished him from all his colleagues who in the 50s and 60s were involved in Abstract Expressionism. His tumbling and nervous marking opened new psychological spaces to a personal and very conceptual art. At first mistaken for something between graffiti and ecriture automatique, Cy Twombly's graphic notes eventually transformed into huge canvases of paintings in which he incorporated these notes as a maelstrom of emotional states. The Catalogue Raisonne of Drawings, edited by Nicola Del Roscio, is published in five volumes. Volume 3, covering the years 1961-1963, documents the explosion of color in the artist's works on paper.

„Durch das Werk von TW hindurch gehen die Schriftkeime, von der äußersten Seltenheit bis zur irren Vervielfältigung: es ist wie ein graphisches Jucken. In ihrer Tendenz wird die Schrift somit Kultur. Wenn die Schrift insistiert und explodiert, dann kommt sie an die Idee des Buches heran. Das Buch, das mit Anmerkungen versehene Buch: ein hinzugefügtes Wort überschwemmt die Ränder, die Zeilenzwischenräume: es ist die Glosse.” Roland Barthes, Non Multa Sed Multum, 1976