Published by D.A.P./Distributed Art Publishers. Edited by Nicola Del Roscio. Text by Laszlo Glozer, Thierry Greub, Simon Schama, Kirk Varnedoe.
Painted poetry: the ultimate monograph on Cy Twombly’s painting, drawing, sculpture and photography
Recognized as one of the greatest and most idiosyncratic artists of the postwar era, Cy Twombly left behind an oeuvre of incredible versatility, sensitivity and originality upon his death in 2011 at age 83. Working in the immediate aftermath of abstract expressionism, Twombly developed an intensely personal scription consisting of scrawled letters and words, in an effusive, calligraphic mark-making that suggests a kind of painted poetry. Working across painting, drawing, sculpture and photography with a restless energy, Twombly incorporated the gods of Ancient Greece, the poetry of Stéphane Mallarmé and the history, culture and mythology of the Occident into his art. The Essential Cy Twombly, edited by Twombly's longtime collaborator Nicola Del Roscio, is the ultimate overview of his work, presenting the most important paintings and cycles of paintings, drawings, sculptures and photographs from Twombly's diverse oeuvre. The most accessible survey of his work to date, this volume includes essays by Laszlo Glozer, Thierry Greub, Kirk Varnedoe and Simon Schama.
Edwin Parker (Cy) Twombly (1928–2011) was born in Lexington, Virginia. He lived and worked in New York in the early 1950s (where he met Robert Rauschenberg, with whom he was to have a long personal and artistic relationship) and studied at the legendary Black Mountain College in North Carolina before traveling around North Africa, Spain and Italy and ultimately settling in Rome before the end of the decade, just as the art world was shifting its center of gravity to New York. Best known for his paintings and drawings, often executed on a massive scale across multiple canvases, Twombly also made sculptures and photographs.
Published by Glenstone Museum. Edited by Emily Wei Rales, Ali Nemerov. Introduction by Emily Wei Rales. Text by Kate Nesin.
Though perhaps best known for his paintings, Cy Twombly (1928–2011) developed a singular body of sculpture over the course of his 60-year career. These sculptures are made from quotidian materials such as wood, metal and found objects, to which he applied a delicate and unifying layer of white paint. The resulting group of works appear not so much as a progression as a series as they do, individually, as a metamorphosis of material. This book marks the long-term exhibition of five Twombly sculptures at Glenstone Museum. The catalogue includes an original essay by scholar Kate Nesin and never-before-published archival images of the sculptures in the artist's studios in Italy courtesy of the Nicola Del Roscio Archives.
Published by Damiani. Edited by Julie Sylvester. Foreword by Eugenio Lopez Alonso. Preface by Patrick Charpenel. Text by Philip Larratt-Smith.
This book accompanies the much-anticipated 2014 exhibition Cy Twombly: Paradise, at Museo Jumex in Mexico City--the first time a comprehensive exhibition of the American artist's work has been mounted in Latin America. The exhibition and book include works on paper, paintings and sculpture that span Twombly's career, from early works of the 1950s to the Camino Real series of paintings that he completed shortly before his death in 2011. The book includes 57 works of art, along with double-page, full-bleed detail photographs that capture Twombly's dramatic gestural style and lush palette. An essay by curator and author Philip Larratt-Smith contextualizes the works and this monumental exhibition. In his essay, Larratt-Smith considers the abiding presence of Roman and Greek mythology in Twombly's art: "For Twombly, the myths of antiquity are dreams and mirrors. Mythical characters are archetypes, and the sequence of events follows an oneiric logic that is intuitively convincing even when irreducible to reason. Twombly finds his own passions reflected in the external patterns of myth; the mirroring effect between aesthetic experience and psychic response is profound and generative. His works are never literary depictions of a myth, though myth may suggestively open the work up to narrative. Myth permits emotional expressivity without disclosing biographical origins and, conversely, provides an objective correlative to the realm of sexuality and fantasy."
Published by Actes Sud. Introduction by Éric Mézil. Text by Nicholas Cullinan, Don DeLillo and Anne-Marie Garat, Éric Mézil.
Although world-famous for his paintings and sculptures, Cy Twombly (1928–2011) was also a photographer, and his practice of photographing interiors, the sea and still lifes, as well as his paintings and sculptures, spanned the duration of his 60-year career. This massive two-volume catalogue gathers this lesser-known aspect of the artist’s output, contextualizing it through an exhibition that Twombly himself curated at the Collection Lambert in Avignon. His selection of works was both original and revealing: Jacques Henri Lartigue’s albums, the marine horizons of Hiroshi Sugimoto, the serial photographs of Ed Ruscha and Sol Lewitt, and the portraits of Diane Arbus and his close friend Sally Mann. With this publication, Twombly also draws a direct lineage between himself and earlier photographer-artists such as Édouard Vuillard and Edgar Degas (a lineage that provides this catalogue's Proustian subtitle). The two volumes are held together with a blue printed ribbon.
Published by Walther König, Köln. Introduction by Margaret Schütte. Text by Jürgen Fitschen.
Cy Twombly, who died in July 2011, was a revered and beloved giant of American painting. He refined the calligraphic impulses of Abstract Expressionism (Pollock, Klein, Tobey) into energetic, anxious scribbles that combined elegance and mess in bewitching displays of painting as process-showing and mark-making. Drips and heavily worked clusters of paint were among Twombly's other signature gestures. He also took many photographs and made prints throughout his career, and this concise overview of works from the Grosshaus Collection reproduces superb examples from the gamut of Twombly's activities. It reproduces 52 color photographs taken by the artist between 1980 and 2009--a tantalizing taste of the c. 250 photographs thought to constitute his photographic oeuvre--as well as eight print portfolios made between 1967 and 1993, and five works on paper made between 1963 and 1979.
Published by Tate/D.A.P.. Text by Nicholas Serota, Richard Shiff, Nicolas Cullinan, Tacita Dean.
A serious comprehensive overview of Cy Twombly's art has been much in demand for many years, and in this publication we at last have one. Accompanying a major touring retrospective to mark Twombly's eightieth year, it surveys a vast output of paintings, drawings and sculpture by an artist whose indifference to supposed distinctions between Pop and abstraction, between writing, drawing and painting, and between literature and art had, for many years, brought his work severe neglect. Twombly's art upsets the prudish purist with its hybridism; as he declares, "I'm not a pure; I'm not an abstractionist completely. There has to be a history behind the thought." For Twombly, this history entails a wealth of literary and mythic allusion and an openness to all kinds of forms. Alongside contributions from Richard Shiff, Nicolas Cullinan and Tacita Dean, this essential volume also presents a rare and revealing interview with the artist by Nicholas Serota, an illustrated chronology, an exhibition history and an extensive biography. It will be the most thorough examination of the life and work of this extraordinary artist for years to come. Cy Twombly is a leading figure in a heterogeneous generation of American artists that also includes Andy Warhol, Robert Rauschenberg and Jasper Johns. Unlike these others, he left America early in his career to live and work in Italy, where he has drawn inspiration from European literature, classical culture and the Italian landscape.
Published by D.A.P./Schirmer/Mosel. Edited by Julie Sylvester. Texts by Roland Barthes and Simon Schama. Foreword by Adam D. Weinberg.
Aggressively elegant, viscerally beautiful, Cy Twombly's work is, in the words of exhibition curator and contributing writer Julie Sylvester, "fundamentally subjective, truthful, and uncompromising." His work finds its most personal expression in his intimately sized drawings and paintings on paper. Finding inspiration as much in the forces of nature as in ancient epics and legends, and using the simplest of media--pencils, ballpoint pens, crayons, wall paint--he creates poetic and archaic worlds, usually in series and often as collages. The 84 drawings in this retrospective, organized by the State Hermitage Museum, St. Petersburg, in 2003 to mark Twombly's 75th birthday, were collected from the artist's studio, and many had not been previously exhibited. Dating between 1953 and 2002, the works embrace the entire career of one of the most important American artists alive today, from the early monotypes to the major mythological cycles of later years, revealing the many nuances of his aesthetic approach. This revised and expanded edition of the catalogue, created on the occasion of the presentation of Cy Twombly: Fifty Years of Works on Paper at the Whitney Museum of American Art, New York, includes an essay by Simon Schama, as well as a new text by curator Julie Sylvester. Roland Barthes's classic 1976 essay Non Multa Sed Multum: and a foreword by the Whitney's director, Adam D. Weinberg. Comprehensive biographical notes and a selected exhibition history and bibliography have also been added to this edition.
Julie Sylvester is Associate Curator of Contemporary Art of the State Hermitage Museum, St. Petersburg, and is the Hermitage's first non-Russian curator. She is the author of John Chamberlain A Catalogue Raisonne of the Sculpture. Cy Twombly at the Hermitage was the second major contemporary exhibition in the history of the State Hermitage Museum.
British historian Simon Schama has written numerous award-winning books on the cultural histories of countries including Holland and France, and is the author of the three-volume History of Britain. He is currently a professor at Columbia University, New York.
Published by D.A.P./Schirmer/Mosel. Foreword by Mikhail Piotrovsky. Introduction by Simon Schama.
Cy Twombly's gestures are some of the most beloved in 20th century art. The painter, graphic artist, sculptor and photographer is prized above all for the sweeping, scribbled marks that he makes with his drawing instruments. Though mostly indecipherable, at least on a literal level, Twombly's colorful, dense gestures are compellingly articulate in their rhythm, line, allusion and mood. Deeply sophisticated and sensual, they follow in the footsteps of Western tradition while speaking resolutely in the hushed and tentative tones of the modern age, defying prevailing stylistic clichŞs and mediating between the old and new worlds. This exceptional volume presents 50 years of drawings by the artist, most taken from his own personal collection.
Published by Gagosian Gallery. Afterword By Mark Francis.
Botanical themes are rare in the earlier paintings of Cy Twombly, but here they blossom in recent plaster and bronze sculptures, large works on paper, and photographs of tulips, peonies and a polychrome sculpture. Exhibited in the serendipitous context of a great botanical garden and library, Twombly's ever more colorful work moves the senses to bloom.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 10.25 x 12.25 in. / 106 pgs / 74 color
PUBLISHING STATUS Pub Date 3/2/2003 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2003
PRODUCT DETAILS ISBN 9781880154847TRADE List Price: $60.00 CDN $70.00
Published by Gagosian Gallery. Essays by Richard Howard and Kirk Varnedoe.
Lepanto, Cy Twombly's ravishing suite of 12 large canvases in acrylic, crayon, and graphite, may be the artist's most satisfactory work. First exhibited at the Venice Biennale in the summer of 2001, the series depicts the famous 16th century sea battle raged by the combined European forces under Venetian leadership against the Ottoman invasion. Twombly's glorious, luminously intense sequence of panels is meant to be absorbed as a single image, a panoramic portrayal of war on a heroic scale, with the viewer standing in the midst of a battle that ends in the destruction of the Turkish fleet.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 14.25 x 10.25 in. / 64 pgs / 29 color / 2 bw
PUBLISHING STATUS Pub Date 5/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2002
PRODUCT DETAILS ISBN 9781880154700TRADE List Price: $80.00 CDN $95.00
Published by Gagosian Gallery. Edited by Donald Kennison. Essay by David Shapiro.
For the first time in nearly 30 years, new paintings by Cy Twombley were exhibited at a New York gallery. This book documents the recent show at Gagosian Gallery, and includes color plates of all paintings in a beautiful multipanel gatefold.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 9.25 x 13 in. / 30 pgs / 10 color
PUBLISHING STATUS Pub Date 6/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9781880154458TRADE List Price: $60.00 CDN $70.00
Published by Hatje Cantz. Artwork by Cy Twombly. Edited by Christian Klemm. Text by Katharina Schmidt.
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.