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Cy Twombly Bild, Text, Paratext THIERRY GREUB (HRSG.) CY TWOMBLY Bild, Text, Paratext MORPHOMATA Die Bildwerke des US-amerikanischen Künstlers Cy Twombly (1928–2011) gelten als her me tisch und schwer zugänglich. Bleistiftgekritzel, Farb ballungen, taumelnde Linien, einander überlagernde Farbschichten und Ein- schreibungen, geometrische Figu ren, Zahlen, Zahlen- reihen, Wörter, Zitatfragmente und rätselhafte Bildtitel stellen Forscher wie Betrachter vor ganz besondere Herausforderungen. Gemäß der interdisziplinär-transkulturellen Forschungs- methode des Internationalen Kollegs Morphomata an der Universität zu Köln versammelte im Juni 2012 ein Kon- gress neben Kunsthistorikern auch namhafte Fachleute aus den Bereichen Ägyptologie, Archäologie, Germanis- tik, Gräzistik, Anglistik, Japanologie und Romanistik, d.h. all jenen Fachgebieten und Kulturkreisen, die eine Inspirationsquelle für das Œuvre Cy Twomblys dar- stellten. Befragen diese den Bezug zwischen Werktitel, Werk und eingeschriebenen Zitaten, so legen führende Vertreter der Twomblyforschung den Fokus auf Bild- sprache und Schriftbildlichkeit bei Cy Twombly. Durch umfassende Deutungen berühmter Einzelwerke und Werkgruppen in sämtlichen von Twombly ange- wandten künstlerischen Medien erschließt der Band in einem fächerübergreifenden Blick einen Zugang zur assoziativ-referentiellen Bildsprache Cy Twomblys. GREUB (HRSG.) – YCY TWOMBL MORPHOMATA HERAUSGEGEBEN VON GÜNTER BLAMBERGER UND DIETRICH BOSCHUNG BAND 13 HERAUSGEGEBEN VON THIERRY GREUB CY TWOMBLY Bild, Text, Paratext WILHELM FINK unter dem Förderkennzeichen 01UK0905. 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, auch die des auszugweisen Nachdrucks, der fotomechanischen Wiedergabe und der Übersetzung vorbehalten. Dies betrifft auch die Verviel­ fältigung und Übertragung einzelner Textabschnitte, Zeichnungen oder Bilder durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transpa­ rente, Filme, Bänder, Platten und andere Medien, soweit es nicht § 53 und 54 UrhG ausdrücklich gestatten. © 2014 Wilhelm Fink, Paderborn Wilhelm Fink GmbH & Co. Verlags­KG, Jühenplatz 1, D­33098 Paderborn Internet: www.fink.de Lektorat: Thierry Greub Gestaltung und Satz: Kathrin Roussel, Sichtvermerk Printed in Germany Herstellung: Ferdinand Schöningh GmbH & Co. KG, Paderborn ISBN 978-3-7705-5610-6 INHALT Einleitung 9 I. CY TWOMBLYS KÜNSTLERISCHES KONZEPT RICHARD HOPPE-SAILER Cy Twombly. Malerische Verwandtschaften 14 ADRIANA BONTEA Cy Twombly: Painting as an Art of Thinking 33 GOTTFRIED BOEHM Cy Twombly. Orte der Verwandlung 49 STEFFEN SIEGEL Entfernung der Abstraktion. Cy Twomblys fotografischer Gestus 68 II. DIE ANTIKE ALS INSPIRATIONSQUELLE PETR CHARVÁT Cy Twombly, Sumer and the Sumerians 85 DIETRICH WILDUNG Wrong label? Ägyptologisches zu Coronation of Sesostris 98 JOACHIM LATACZ Cy Twombly mit Achill vor Troia 116 DIETRICH BOSCHUNG Cnidian Venus 167 JÜRGEN HAMMERSTAEDT Cy Twomblys Thyrsis­Triptychon und die hellenistische Hirtendichtung des Theokrit 184 STEFAN PRIWITZER Nine Discourses on Commodus 206 III. DIE NEUZEIT ALS BEZUGSRAHMEN ARTUR ROSENAUER Schicksal oder Strategie? Zur Frage des Spätstils bei Twombly und Tizian 228 LISA HOPKINS Twomblys Hero and Leandro (To Christopher Marlowe) 245 HENRY KEAZOR „… and then goes off to somewhere else“: Cy Twombly und Nicolas Poussin 261 YOSHINOBU HAKUTANI Cy Twombly’s Painting of the Peonies and Haiku Imagery 279 GEORG BRAUNGART „Unendliche Spur“: Cy Twomblys ‚Poetik‘ zwischen Bild und Gesang 295 ARMIN ZWEITE Twomblys Rosen. Zu einigen Bildern des Malers im Museum Brandhorst 319 IV. SCHRIFT UND BILD BEI CY TWOMBLY THIERRY GREUB „… to revalorise poetry now …“ – Zu Cy Twomblys literarischen Einschreibungen 359 MARY JACOBUS Twombly’s Narcissus: Ovid’s Art, Rilke’s Mirror 381 MARTINA DOBBE Medialität, Schrift und Bild. Aspekte der bildtheoretischen Diskussion des Werks von Cy Twombly 393 MARTIN ROUSSEL „ce passé du trait“: Roland Barthes’ Schriftmaler TW 419 V. LEBENSSPUREN REINER SPECK Twomblys Laura 443 NICOLA DEL ROSCIO Trip to Russia and Afghanistan with Cy Twombly, 1979 453 Bibliographie 466 Verzeichnis der Autoren 473 Tafeln 480 EINLEITUNG Cy Twombly (1928–2011) ist der vielleicht ‚morphomatischste‘ Künstler der zweiten Hälfte des 20. und des beginnenden 21. Jahrhunderts. Keiner hat sich derart intensiv wie er mit dem geistigen Erbe und den materiellen Spuren der Antike sowie den Hinterlassenschaften der Weltkulturen bis in unsere Gegenwart künstlerisch auseinandergesetzt. Keiner hat wie er den Spagat zwischen Kunst und Literatur nicht nur als Nebenbeschäfti­ gung, sondern als einen der Hauptzwecke seiner Kunst verstanden. Und keiner hat in vergleichbarem Maße die Persistenz ‚alter‘ Figurationen im Geist der Gegenwartskunst für unsere Zeit zu bewahren und gleichzeitig zu befragen versucht. Genau dies sind zentrale Untersuchungsgebiete von Morphomata, dem Internationalen Kolleg der Universität zu Köln, seit seinem Auftakt 2009: die Beschäftigung mit diversen, klar umris­ senen kulturellen Figurationen, deren Genese, Dynamik und Medialität sowohl in diachroner als auch synchroner Ausrichtung – also von ihrem Entstehen bis zu ihrem Verblassen und möglichen Wiederauftauchen quer durch die Kulturen – untersucht wird, um das Fremde im Eigenen unter neuen Vorzeichen sichtbar werden zu lassen.1 Dergestalt kulturelle Figurationen, also ‚Morphome‘2, haben auch Cy Twombly zeitlebens beschäftigt. Die Ursprünge von Kultur und Kreativität, Liebe, Tod, Vergessen und Erinnern sind nur einige solcher universellen Eckpunkte, die seine Kunst bestimmen. Dabei gelten die Werke des US­amerikanischen Künstlers noch immer als hermetisch und schwer zugänglich. Bleistiftgekritzel, Farbballungen, taumelnde Linien, einander überlagernde Farbschichten und Einschreibungen, geometrische Figuren, Zahlen, Zahlenreihen, Wörter, Zitatfragmente 1 Vgl. die grundlegenden Fallstudien von Günter Blamberger und Dietrich Boschung in: Günter Blamberger / Dietrich Boschung (Hrsg.): Morphomata. Kulturelle Figurationen: Genese, Dynamik und Medialität (Morphomata, Bd. 1). München 2011, 11–46 bzw. 47–90. 2 Vgl. Jürgen Hammerstaedt: Die antike Verwendung des Begriffs mórphoma. In: ebd., 91–109. 10 sowie rätselhafte Bildtitel stellen Betrachter wie Forscher vor ganz besondere Herausforderungen. Zudem umspannt Twomblys künstle­ risches Œuvre die lange Zeit von über zwei Generationen und umfasst neben Malerei, Zeichnung und Graphik auch Skulptur sowie – wie erst jüngst ins Bewusstsein einer interessierten Öffentlichkeit gedrungen – die Photographie. Gemäß der interdisziplinär­transkulturellen Forschungsmethode von Morphomata versammelte vom 13.–15. Juni 2012 ein Kongress zu Cy Twombly neben Kunsthistorikern auch namhafte Fachleute aus den Be­ reichen Ägyptologie, Alte Geschichte, Altorientalistik, Altphilologie, Ang­ listik, Archäologie, Germanistik, Gräzistik, Japanologie und Romanistik, d. h. all jenen Fachgebieten und Kulturkreisen, die in hervorgehobener Weise eine Inspirationsquelle für das Werk Twomblys darstellen. Der vorliegende Band widmet sich im I. Kapitel in Form einer Einleitung dem schwer fassbaren künstlerischen Konzept Cy Twomblys. Um dieses näher zu bestimmen, holt Richard Hoppe-Sailer (Bochum) in einer doppel­ ten Bewegung Twomblys Kunst aus ihrer behaupteten Isolation heraus, indem er sie mit Bestrebungen seiner US­amerikanischen Künstlerkol­ legen wie Willem de Kooning, Robert Motherwell und Jackson Pollock vergleicht und zudem mit gängigen Kategorien der Kunstgeschichte (wie der Gattung der Landschaftsmalerei) in Zusammenhang bringt. Adriana Bontea (Oxford) zeigt auf, dass Twomblys Aussage, „hinter jedem Gedanken (müsse) eine Geschichte stehen“, auf dessen eigenes Werk anwendbar ist. In sehr grundsätzlicher Art und Weise spürt Gottfried Boehm (Basel) den künstlerischen Verfahren Twomblys nach, wie etwa der spezifischen Bedeutung des Bildgrundes, der Körperlichkeit von Künstler und Betrachter sowie der Farbe Weiß. Steffen Siegel (Jena) untersucht für die Photographie Cy Twomblys, die einer vorschnellen Einordnung in sein Œuvre auf den ersten Blick großen Widerstand entgegensetzt, die maßgeblichen künstlerischen Strategien. Die beiden nachfolgenden Kapitel beschäftigen sich mit den In­ spi rationsquellen von Twomblys Kunst, zunächst aus der Antike (II), dann aus der Neuzeit (III). Twombly hat sich bewusst von Kunst für seine Kunst anregen lassen – eine wichtige Quelle bildeten für ihn die Literatur und Werke anderer Künstler.3 Intendiert referieren hier neben 3 Die von Cy Twombly in seine Werke eingeschriebenen Notate sind im vorliegenden Band zur besseren Kenntlichkeit kursiv gesetzt (was nicht heißt, dass Twombly sie kursiv geschrieben hat). EINLEITUNG 11 Kunstwissenschaftlern führende Vertreter des jeweiligen Faches, das Twombly als Bezugsrahmen (für teils monumentale Großzyklen) diente: Ägyptologie (Dietrich Wildung, Berlin, zu Coronation of Sesostris), Alte Ge­ schichte (Stefan Priwitzer, Heidelberg, zu Nine Discourses on Commodus), Altorientalistik (Petr Charvát, Plzeň, zu zwei Twombly-Skulpturen mit su­ merisch­akkadischen Städtenamen), Altphilologie (Jürgen Hammerstaedt, Köln, zu Twombly und Theokrit), Anglistik (Lisa Hopkins, Sheffield, zu Twomblys Rückbezug auf Christopher Marlowe), Archäologie (Dietrich Boschung, Köln, zu Cnidian Venus), Germanistik (Georg
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