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GREUB Thierry, VARNEDOE Kirk, DEL ROSCIO Nicola, SCHAMA Simon, GLOZER Laslo.
Cy Twombly.
<p>Cy Twombly (1928-1011) a laissé une œuvre d’une polyvalence, d’une sensibilité et d’une originalité prodigieuses. Longtemps resté peu connu du public, il a suivi son propre parcours artistique avec une ténacité sans précédent, loin des grandes tendances de son époque. Au moment de sa mort, toutefois, à l’âge de 83 ans, il avait acquis une notoriété internationale et était reconnu comme l’un des plus grands artistes et l’un des plus originaux de la fin du XXe siècle et du début du XXIe siècle. Né à Lexington, en Virginie, son itinéraire l’a conduit – après un détour par l’illustre Black Mountain College et par New York – en Europe, où il élit résidence en Italie en 1957. Très tôt, il va élaborer un mode d’écriture très personnel, fait de lettres et de mots et qui évoque une poésie peinte. Les dieux de la Grèce antique, la lumière méditerranéenne, l’histoire, la culture et la mythologie de l’Occident trouvent leur place dans la poésie sensuelle qui constitue son art. Ce livre donne une première vue d’ensemble de l’œuvre complexe de Twombly ; il réunit les tableaux et cycles peints les plus importants ainsi qu’une bonne sélection de ses dessins, de ses sculptures et de ses photographies. </p> Paris, 2014 Hazan 240 p., relié sous jaquette. 25 x 29
Reference : 22914
ISBN : 9782754107815
Neuf
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5 book(s) with the same title
Cy Twombly: Catalogue Raisonn of Drawings, Vol. 1 - 8 (complete set)
Munchen, Schirmer/Mosel, 2011 8 Volumes in slipcase, each in linen binding and illustrated dustjacket, 25.5 x 35 cm, Fully illustrated. English edition. *Fine condition.
Cy Twombly Catalogue Raisonn of Drawings Vol. 1, 1951?1955 Cy Twombly Catalogue Raisonn of Drawings Volume 2, 1956 - 1960 Cy Twombly Catalogue Raisonn of Drawings Volume 3, 1961?1963 Cy Twombly Catalogue Raisonn of Drawings Volume 4, 1964?1969 Cy Twombly Catalogue Raisonn of Drawings Volume 5, 1970?1971 Cy Twombly Catalogue Raisonn of Drawings Volume 6, 1972?1979 Cy Twombly Catalogue Raisonn of Drawings Volume 7, 1980?1989 Cy Twombly Catalogue Raisonn of Drawings Volume 8, 1990?2011. Cy Twombly Catalogue Raisonn of Drawings Vol. 1 includes works on paper produced between 1951 and 1955. It includes several works on paper that the artist produced in Lexington, VA between 1951 and 1952 which will be of particular interest to scholars focused on his early practice. It also catalogues entries from early sketchbooks as well as his famed North African Sketchbooks (1953). It is an indispensable resource for scholars writing about either the sketchbooks themselves or their substantive connections to subsequent paintings, as the sketchbooks are reproduced here in their entirety. The volume also includes Study for Tiznit (1953), a preliminary for one of Twombly?s more frequently exhibited early paintings, and sketches completed in Augusta, Georgia while Twombly was stationed there during his brief military service. The latter will be of particular interest to those writing about Twombly?s line and his idiosyncratic hand, as this was the method through which he later reported developing his signature childlike (but never childish) scrawl. The volume also includes a large set of drawings the artist reportedly intended to publish as an album, though this project never came to fruition. It will be of interest to scholars researching Twombly?s printmaking practice as well, as there are numerous formal resemblances to his later prints throughout; see Cy Twombly Catalogue Raisonn of Printed Graphic Work 1953?2002, ed. Heiner Bastian. Those researching the North African Sketchbooks might also consult Anne-Grit Becker?s ?Marks and Material in Cy Twombly's North African Sketchbooks? (2017) and Cycles and Seasons, ed. Nicholas Serota (2008). The relationship between early paintings and drawings is discussed in Carol A. Nigro?s ?Cy Twombly?s Humanist Upbringing? (2008). For more on early works, including those produced at Black Mountain College, primary sources are gathered and reproduced in Writings on Cy Twombly, ed. Nicola del Roscio (2002). Those interested in Twombly?s line and the ?unlearning? of his hand, as well as later iterations like the ?blackboard? paintings, should consult Roland Barthes?s classic text ?The Wisdom of Art? (1979) as well as the catalogue in which it originally appeared, Cy Twombly: Paintings and Drawings 1954?1977. The Gagosian Gallery catalogue In Beauty it is finished: Drawings 1951?2008 (2018) also includes relevant material, as does Cy Twombly at the Hermitage: Fifty Years of Works on Paper, ed. Julie Sylvester (2008). There are also many connections to the sculptures, especially via the North African Sketchbooks, on which see Kate Nesin, Cy Twombly?s Things (2014). (Publication description by Jamie Danis)
Cy Twombly: Catalogue Raisonn of Sculpture, Vol. I+II (complete set)
Munich, Schirmer / Mosel, 2019 Two volumes, each in their own slipcase, linen binding and dustjacket, 349 + 352 pages, 35 x 26 cm, fully illustrated. English edition. ISBN 3888148758.
Cy Twombly Catalogue Raisonn of Sculpture Volume I, 1946?1997 Cy Twombly Catalogue Raisonn of Sculpture Vol. I encompasses the period from Twombly?s earliest sculptures to 1997, the date of publication. The introductory text by Arthur Danto, ?Monuments and Metamorphoses: The Sculptures of Cy Twombly,? centers on the transformations and metamorphoses Twombly enacted in producing his sculptures, offering a sustained consideration of the relationship between materiality and content. Danto characterizes Twombly as engaging in ?transformative play? (16), allowing the sculptures to be simultaneously abstract and representational. He also considers Twombly?s use of found objects and refuse, the Platonic and Homeric references in the sculptures, and the relationships between Twombly?s much better-known paintings and the then-rarely exhibited sculptures. Danto argues that the sculptures assume a uniquely significatory role in Twombly?s practice, existing in more legible relationships to Twombly?s beloved myths and historical references than his work in other media through the transformations of readymade materials. This essay is likely to be of particular interest to scholars researching Cycnus (1978), which Danto considers throughout. The entries in this volume of the catalogue raisonn will be of special interest to scholars and students researching Twombly?s recurring sculptural motifs, including panpipes, palm leaves, columns, and carts or chariots. The volume also highlights the many direct connections to his painting practice throughout the same time period, with the same subjects explored in multiple media: e.g., Orpheus serves as a subject of a 1979 sculpture as well as multiple paintings produced in the 1970s, and Twombly?s interest in boats surfaces in sculptures such as Winter?s Passage: Luxor (1985) synchronously with its sustained emergence in his paintings. Though his use of white to ?unify? his sculptures?as Danto and others term it?is prevalent throughout, this volume also meticulously catalogues Twombly?s use of polychromy. This ranges from small traces on otherwise-white sculptures to other relatively unknown but exceptionally vibrant works. His engagements with both Greco-Roman antiquity?especially Homer?and Egyptian mythology are prevalent throughout. Eight entries of sculptures completed before 1950 also offer a rare glimpse into Twombly?s early practice. The catalogue raisonn is an indispensable specialist resource for students and scholars researching any of these core features of Twombly?s practice. This volume is also particularly useful to those focusing on the artist?s time in Rome, Bassano in Teverina, Gaeta, and Jupiter Island, Florida; those focused on the artist?s time in Lexington, VA should primarily reference vol. II. For further reading, Kate Nesin?s Cy Twombly?s Things (2014) provides a foundational account of the sculptures and their materiality; the catalogues raisonn s and Nesin?s text together provide a vital orientation for scholars researching any component of Twombly?s sculptural practice. Achim Hochd rfer?s Cy Twombly: Das Skulpturale Werk (2001) also offers a detailed and productive account of the sculptures. Cy Twombly Catalogue Raisonn of Sculpture Volume II, 1998?2011 Cy Twombly Catalogue Raisonn of Sculpture Vol. II includes sculptures produced from 1998 until the artist?s passing in 2011. The introductory text by Nicola Del Roscio offers a vital account of the sculptures ?based, not just on curatorial or statistical facts, but on what Cy said about his works and circumstances, memories and experiences that infused their meaning? (7). Del Roscio also explores the connections between Twombly?s sculptures and his works in other media (e.g., photography) and references embedded in the sculptures (e.g., the Gaeta skyline) that might otherwise be opaque to those without similar firsthand knowledge of Twombly?s practice. The connections Twombly drew between his sculptures and nature, as well as his working practices in producing them (?practical, immediate, and of a pitiful brutality? [13]) are addressed throughout. This later set of sculptures includes rare instances of fully polychromatic sculptures without any white paint (e.g., Turkish Delight, 2000), many of which reflect a major thematic concern with Middle Eastern references present throughout the later sculptures. These are contextualized alongside the more austere white sculptures for which Twombly is best known. Though primarily of interest to researchers interested in the sculptures themselves, this volume also provides many vital connections to other aspects of Twombly?s practice. See e.g., the entry for Untitled (2001, cat. no. 43), which notes that ?the colored paper tissues [used in the sculpture] are leftovers the artist used to dry the paint during the production of his series Lepanto? (100). Despite consistent returns to funerary themes, many of the sculptures are lighthearted and witty, embodying what Danto calls ?a pervasive spirit of play? (15) in his introduction to Vol. I. The catalogue includes exceptional sections of particular interest, including a selection of tombstones the artist designed for close friends?echoing the funerary themes present throughout many of the sculptures?and a selection of rejected and unfinished sculptures, both of which will be of interest to researchers focusing on the artist?s process. This catalogue will also be helpful for scholars researching Twombly?s time in Lexington, Virginia and Pfaffikon, Switzerland, where many of these sculptures were produced. Many sculptures in both Vols. I and II were produced in Twombly?s residences in Italy as well (note, however, that most in Vol. II were produced in Gaeta rather than Rome or Bassano in Teverina). Vol. II also includes biographical notes, lists of one person exhibitions, one person exhibition catalogues, group exhibitions, group exhibition catalogues, monographs, and general literature (until 2019). As with volume I, this is an indispensable reference for students and scholars working on the sculptures or on any of their thematic and material connections to the rest of Twombly?s practice. For further reading, see Kate Nesin?s Cy Twombly?s Things (2014), a foundational account of the sculptures and their materiality. The catalogues raisonn s and Nesin?s text together provide a vital orientation for scholars researching any component of Twombly?s sculptural practice. Achim Hochd rfer?s Cy Twombly: Das Skulpturale Werk (2001) also offers a detailed and productive account of the sculptures.
Cy Twombly: Catalogue Raisonn of the Paintings. Volumes I-VI / Cy Twombly : Catalogue Raisonne Der Gemalde 6 volumes I-VI
, Schirmer / Mosel, 2014 6 volumes, linnen binding under illustrated dustjacket, 31 x 28 cm, text in English / German. *Fine condition ISBN 9783829608053.
Six volumes, up to volume VI. Cy Twombly Catalogue Raisonn of the Paintings Volume VI covers the final years of the artist?s life, from 2008 to 2011. Bastian?s introductory essay reflects more broadly on motifs and recurrent concerns throughout the artist?s practice rather than focusing heavily on individual artworks or cycles, as previous introductory essays do. Bastian meditates in particular on the sea and its many appearances and instantiations in Twombly?s oeuvre; he returns, as he does consistently throughout his catalogue raisonn introductions, to the work of St phane Mallarm , reflecting on what Twombly called the ?white, white, white? of the Mediterranean. Bastian offers extended reflections on Twombly?s late monumental sequence The Rose (2008) and Camino Real (2011), a series which shares the vibrant hues and Bacchic form of his final paintings. The volume includes more of Twombly?s Bacchus paintings, as well as his formally similar untitled blue iterations, completed in Lexington; scholars focused on the Bacchus series will need to consult volumes IV and V as well, as the longer diachronic span of the series results in appearance in multiple volumes. The Rose is accompanied by Blooming (2001?2008), and use of poetry such as that of Rainer Maria Rilke is prevalent throughout. Twombly?s Leaving Paphos Ringed With Waves works (2008) are also included here. Relevant literature relating to these final works includes Cy Twombly: Homes and Studios, ed. Nicola del Roscio (2020), which will be of interest for its documentation of Twombly?s working practice; many of the photographs reproduced document the production of these late paintings. For Leaving Paphos Ringed with Waves, see Cy Twombly: Making Past Present, ed. Chistine Kondoleon and Kate Nesin (2020) and the eponymous Gagosian catalogue (2009), with essays by Demosthenes Davvetas and Mary Jacobus. For the Bacchus series (present in cat. rais. volumes V, VI, and VII), see the eponymous Gagosian catalogue (2005), Gary Astrachan?s Naming the Gods: Cy Twombly's Passionate Poiesis (2020), and Dominique Baqu ?s Cy Twombly: Sous le signe d?Apollon et de Dionysos (2016). For The Rose, see the eponymous Gagosian catalogue (2009), Mary Jacobus?s Reading Cy Twombly: Poetry in Paint (2016), and Baqu ?s Sous le signe. Thierry Greub?s Inscriptions (2022) and (ed.) Cy Twombly: Image, Text, Paratext (2017) are also useful for tracking literary references.
Cy Twombly: Catalogue Raisonn of the Paintings. Volumes I-VII / Cy Twombly : Catalogue Raisonne Der Gemalde 7 volumes I-VII
, Schirmer / Mosel, 2018 7 volumes, linnen binding under illustrated dustjacket, 31 x 28 cm, text in English / German. *Fine condition ISBN 9783829608053.
Seven volumes, up to volume VII. Cy Twombly Catalogue Raisonn of the Paintings Volume VII: Addendum is the final volume of the catalogues raisonn s of paintings and includes both unfinished paintings and lost works. Heiner Bastian?s introductory essay includes recollections of conversations between the author and the artist. In this final reflection on Twombly?s practice in the series, Bastian suggests ?recognizing poetic landscapes gleaned from the heartbeat of Apollonian and Dionysian forms of existence? (18). He also draws on Roland Barthes?s famous essay about the artist, ?The Wisdom of Art,? and his concluding remarks have an overtly Hegelian inflection. The unfinished paintings will be among the most interesting inclusions for scholars researching the artist?s working practice and should be considered in dialogue with the unfinished and rejected sculptures recorded in Cy Twombly Catalogue Raisonn of Sculpture Vol. II (2019). Many of the other entries catalogue lost works or works that were presumed to be lost in earlier catalogues raisonn s but subsequently recovered (e.g., Desert of Love [1959], notated as whereabouts unknown in Vol. IV but as in the collection of the Cy Twombly Foundation in Vol. VII). The volume will be of interest to scholars working on any period of the artist?s practice, as the entries range from the 1950s to the end of the artist?s life in 2011. Direct connections to thematic concerns present in earlier volumes are abundant throughout, including in the recurrence of themes such as 10 Days Wait at Mugda (1963) and Death in Naples (1963). Other notable inclusions are a new left panel for Ilium (One Morning Ten Years Later) completed in 2000, additional ?blackboard? paintings, additional Green Paintings, and paintings conceived as Japanese screens. There are also many additional iterations of the large, loose swirls that characterize Twombly?s Bacchus works and other late paintings. Within the section of unfinished works, many relate to his floral cycles or his recurrent boat motif. There is also a notable abandoned canvas for Coronation of Sesostris (2000). As scholars referencing this volume of the catalogue raisonn will likely have a focus on the artist?s working practice, further relevant literature includes Cy Twombly: Homes and Studios (2020) and Kate Nesin?s Cy Twombly?s Things (2014); though the latter addresses the sculptures rather than the paintings, it remains a uniquely sustained consideration of the material concerns of Twombly?s studio practice and addresses connections to his painting practice throughout. Other texts with a similar comprehensive focus may also be useful; see e.g., Writings on Cy Twombly, ed. Nicola Del Roscio (2002) and The Essential Cy Twombly, ed. Nicola Del Roscio (2014). (Publication description by Jamie Danis)
Cy Twombly: Photographs III 1951?2010
Munich, Schirmer/Mosel, 2011 Hardcover with dustjacket, 180 pages, 107 colour plates. English/French/German edition. *Fine condition. ISBN 9783829605373.
This volume includes Hubertus V. Amelunxen?s ?Schenkst der Rose Scweigen Ein,? published in German as well as English and French (?Do Not Interrupt This Rose,? ?Cette Rose Ne l?Interromps??), color plates, and a list of works exhibited. In his essay, Amelunxen asserts that the photographs are ?grounded in the art of light? With photography, Cy Twombly is seeing in another time. Seeing and Not-Seeing search for each other in the photographs in a manner distinct from his paintings and drawings? (170). Drawing on Roland Barthes, he considers the extent to which the composition of the photographs is deliberately mediated and manipulated by the artist. Amelunxen discusses a 1944 photograph of Twombly in Ogunquit, Maine at length. Returning to photographs taken by Twombly, he argues that ?[n]othing could be more anaethema to Cy Twombly than using an image to illustrate, to refer to other things; (almost) none of the references are in the paintings or drawing that deviated from the picture of his own signs or what was written? (171). He extends this reading to the photographs, finding them essentially immediate transmissions. Addressing Twombly?s earliest photographs in the 1950s, Amelunxen draws connections to the ?intellectual climate? (172) produced by figures such as Charles Olson and D.T. Suzuki. Traversing the breadth of Twombly?s photographic practice, Amelunxen maintains that ?[c]onsistently, the relation between visibility and invisibility manifests itself, approaching, in dialogue with Merleau-Ponty, the Not-Visible within the Visible? (173). He concludes with a repeated assertion of the photographs as conveying ?immediacy [and] vulnerability? (175). For more on Twombly?s photographs, see also From State of Mind to the Tangible: The Photographic Cosmos of Cy Twombly by Carlos Peris (2022); Cy Twombly: Photographs, Volume II, published by Gagosian (2015); Cy Twombly: Photographs 1951?2007, ed. Laszlo Glozer (2008); Twombly: Photographs, published by Brazos Projects (2000); Cy Twombly Photographs: Lyrical Variations, published by the Kawamura Memorial DIC Museum of Art (2016); Cy Twombly: Photographs, published by Matthew Marks Gallery (1993); Cy Twombly: A Survey of Photographs 1954?2011, published by Gagosian Gallery (2012); and Cy Twombly: Photographs, 1951?1999, ed. Nicola Del Roscio (2002). (Publication description by Jamie Danis)
