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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: 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.
