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CY TWOMBLY Image, Text, Paratext THIERRY GREUB (ED.) CY TWOMBLY Image, Text, Paratext MORPHOMATA The artworks of the US artist Cy Twombly (1928–2011) are considered to be hermetic and inaccessible. Pencil scribblings, explosions of paint, tumbling lines, over- lapping layers of color, and inscriptions, geometrical figures, numerals, rows of numbers, words, fragments of quotations, and enigmatic work-titles present very special challenges to both researchers and viewers. In the interdisciplinary and transcultural research meth- od of the Morphomata International Center for Advanced Studies at the University of Cologne, a conference was held in June 2012 that brought art historians together with renowned scholars of Egyptology, Archaeology, German, Greek, English, Japanese, and the Romance languages, i.e. all the fields and cultural spheres that were a source of inspiration for the œuvre of Cy Twombly. While these scholars inquire into the relation between title, work, and inscribed quotations, leading represen- tatives of research on Twombly focus on the visual lan- guage and scriptural-imagistic quality of Cy Twombly’s work. Through comprehensive interpretations of famous single works and groups in all the artistic media employed by Twombly, the volume’s cross-disciplinary view opens up a route into the associative-referential visual language of Cy Twombly. THIERRY GREUB (ED.) – CY TWOMBLY MORPHOMATA EDITED BY GÜNTER BLAMBERGER AND DIETRICH BOSCHUNG VOLUME 37 EDITED BY THIERRY GREUB CY TWOMBLY Image, Text, Paratext WILHELM FINK English edition translated from the German original: Cy Twombly. Bild, Text, Paratext (Morphomata, vol. 13). Paderborn 2014 (based on a conference held at the University of Cologne, 13–15 June 2012, by Morphomata International Center for Advanced Studies) Translated by Orla Mulholland, Daniel Mufson, Ehren Fordyce, and Timothy Murray Translated and printed with the generous support of the Cy Twombly Founda­ tion, Rome / New York and the Fondazione Nicola Del Roscio, Gaeta unter dem Förderkennzeichen 01UK1505. Die Verantwortung für den Inhalt der Veröffentlichung liegt bei den Autoren. Bibliografische Informationen der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National­ biblio grafie; detaillierte Daten sind im Internet über www.dnb.d­nb.de abrufbar. Alle Rechte vorbehalten. Dieses Werk sowie einzelne Teile desselben sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen ist ohne vorherige schriftliche Zustimmung des Verlags nicht zulässig. © 2018 Wilhelm Fink Verlag, ein Imprint der Brill­Gruppe (Koninklijke Brill NV, Leiden, Niederlande; Brill USA Inc., Boston MA, USA; Brill Asia Pte Ltd, Singapore; Brill Deutschland GmbH, Paderborn, Deutschland) Internet: www.fink.de Lektorat: Krystyna Greub-Frącz, Thierry Greub Umschlaggestaltung und Entwurf Innenseiten: Sichtvermerk, Kathrin Roussel Satz: Sichtvermerk, Kathrin Roussel und Berit Urbaniak Printed in Germany Herstellung: Brill Deutschland GmbH, Paderborn ISBN 978-3-7705-6283-1 CONTENTS Introduction 9 I. TWOMBLY’S ARTISTIC CONCEPT RICHARD HOPPE-SAILER Cy Twombly. Painterly Affinities 15 ADRIANA BONTEA Cy Twombly: Painting as an Art of Thinking 35 GOTTFRIED BOEHM Cy Twombly. Sites of Transformation 53 STEFFEN SIEGEL Distancing of Abstraction. Cy Twombly’s Photographic Gestus 77 II. ANTIQUITY AS INSPIRATION PETR CHARVÁT Cy Twombly, Sumer, and the Sumerians 99 DIETRICH WILDUNG Wrong label? Egyptological Reflections on Coronation of Sesostris 113 JOACHIM LATACZ Cy Twombly with Achilles at Troy 137 DIETRICH BOSCHUNG Cnidian Venus 189 JÜRGEN HAMMERSTAEDT Cy Twombly’s Thyrsis Triptych and the Hellenistic Pastoral Poetry of Theocritus 207 STEFAN PRIWITZER Nine Discourses on Commodus 231 III. MODERNITY AS FRAME OF REFERENCE ARTUR ROSENAUER Destiny or Strategy? On the Question of Late Style in Twombly and Titian 253 LISA HOPKINS Twombly’s Hero and Leandro (To Christopher Marlowe) 271 HENRY KEAZOR “… And Then Goes Off to Somewhere Else”: Cy Twombly and Nicolas Poussin 289 YOSHINOBU HAKUTANI Cy Twombly’s Painting of the Peonies and Haiku Imagery 307 GEORG BRAUNGART “Infinite Trace”: Cy Twombly’s “Poetics” between Image and Song 323 ARMIN ZWEITE Twombly’s Roses. On a Few of the Painter’s Pictures in the Museum Brandhorst 349 IV. IMAGE AND TEXT IN CY TWOMBLY THIERRY GREUB “To Revalorize Poetry Now”: On Cy Twombly’s Literary Inscriptions 389 MARY JACOBUS Twombly’s Narcissus: Ovid’s Art, Rilke’s Mirror 415 MARTINA DOBBE Mediality, Text, and Image. Aspects of Theoretical Discourse about the Works of Cy Twombly 431 MARTIN ROUSSEL “ce passé du trait”: Roland Barthes’ Painter of Writing, TW 457 V. TRACES OF LIFE REINER SPECK Twombly’s Laura 481 NICOLA DEL ROSCIO Trip to Russia and Afghanistan with Cy Twombly, 1979 493 Bibliography 506 1 Cy Twombly, Gaeta, 1994, photography: Bruce Weber INTRODUCTION Of all the artists of the twentieth and twenty-first centuries, Cy Twombly (1928–2011; ill. 1) is perhaps the most “morphomatic.” No one else has wrestled artistically with the intellectual heritage and material traces of antiquity, as well as the legacy of global cultures extending to our own times, with as much intensity as Twombly. No one else has understood the negotiation of the divide between art and literature not merely as a sideline but as one of the main purposes of his art. And no one else has attempted, in equal measure, to safeguard and interrogate the persistence of “old” figurations in the spirit of contemporary art for our time. These have been the exact areas of investigation for Morphomata International Center for Advanced Studies—Genesis, Dynamics and Mediality of Cultural Figurations, the international center for advanced studies in the Hu­ manities at the University of Cologne, since its inception in 2009: the preoccupation with diverse, clearly delineated cultural figurations whose genesis, dynamics, and mediality are investigated in both diachronic and synchronic terms—that is, from their origination to their fading into oblivion and again to their potential reemergence, straight through their cultures—in order to create a new context in which alien traits become visible within that which is indigenous.1 To that extent, cultural figurations—that is, morphomes2—preoccu­ pied Cy Twombly during his life, too. The origins of culture and creativity, love, death, remembrance, and forgetting are but a few such universal cornerstones that define his art. At the same time, the American artist’s works are still largely viewed as being hermetic and not easily accessible. Pencil scribbles, clumps of paint, lurching lines, superimposed layers of 1 Cf. the standard case studies of Günter Blamberger: Figuring Death, Figuring Creativity: On the Power of Aesthetic Ideas. Munich 2013 and Dietrich Boschung: Kairos as a Figuration of Time. A Case Study. Munich 2013. 2 Cf. Jürgen Hammerstaedt: Die antike Verwendung des Begriffs mórphoma. In: Günter Blamberger / Dietrich Boschung (eds.): Morphomata. Kulturelle Figura- tionen: Genese, Dynamik und Medialität (Morphomata 1). Munich 2011, 91–109. 10 paint and inscriptions, geometric figures, numbers, rows of numerals, words, fragmentary quotations, and enigmatic picture titles present un­ usual challenges for viewers of the works as well as anyone researching them. Moreover, Twombly’s artistic oeuvre spans the long time of over two generations and, alongside painting and drawing, also includes sculp­ ture and photography, the latter of which has only recently penetrated the consciousness of an interested public. Consistent with the interdisciplinary and transcultural research methods of Morphomata, a conference on Cy Twombly that met in June 2012 included art historians as well as prominent specialists in the fields of Egyptology, ancient history, ancient oriental studies, classical philol­ ogy, English language and literature, archeology, German studies, ancient Greek, and Japanese studies, i.e., all the fields and cultural areas that represent prominent sources of inspiration for Twombly’s work. The first section of the present volume provides an introduction to the difficult artistic concept of Cy Twombly’s work. In order to define this more precisely, Richard Hoppe-Sailer (Bochum) uses a two­pronged ap­ proach to taking Twombly’s art out of its perceived isolation by compar­ ing it to the efforts of U.S.­based colleagues such as Willem de Kooning, Robert Motherwell, and Jackson Pollock and, in addition, placing it in the context of common categories of art history (such as the genre of land­ scape painting). Adriana Bontea (Oxford) demonstrates that Twombly’s statement that “there has to be a history behind [every] thought” is ap­ plicable to his own work. In a very fundamental manner, Gottfried Boehm (Basel) traces Twombly’s artistic processes, such as the specific signifi­ cance of the pictorial ground, the corporeality of artist and viewer, and the color white. Steffen Siegel (Jena) investigates the appropriate artistic strategies for Cy Twombly’s photography, which at first glance resists any rash classification within the scheme of his oeuvre. Both of the subsequent sections concern themselves with the sources of inspiration for Twombly’s art, first from antiquity (II) and then from modernity (III). Twombly consciously allowed his art to be inspired by art—the literature and works of other artists constituted an important source. Along with art specialists, leading representatives of the fields used by Twombly as reference points (sometimes
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