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“Cy Twombly: Intérprete De Dos Mundos” [Un Artista Entre Estados Unidos Y Europa, Entre Lo Clásico Y Lo Contemporáneo]

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“Cy Twombly: Intérprete De Dos Mundos” [Un Artista Entre Estados Unidos Y Europa, Entre Lo Clásico Y Lo Contemporáneo] “Cy Twombly: Intérprete de dos mundos” [Un artista entre Estados Unidos y Europa, entre lo clásico y lo contemporáneo] Programa de doctorado de Historia del arte 3130 Directora Dra. XESQUI CASTAÑER Irene Gras Cruz 2013/2017 2013/2017 Departament d’Història de l’Art. Facultat de Geografia i Història. Universitat de València. Avd. Blasco Ibañez, 28 46010 València. «[...] tra i pittori americani dell’ultima generazione Cy Twombly occupa un posto tutto suo particolare: uno dei me- glio individuali e dei più interessanti.» «[...] rispetto agli ultimi espressionismi astratti da una parte, e ai nuovi dadaisti dall’altra, Twombly ha saputo collocarsi con molto coraggio in una posizione che fonde le istanze fondamentali di queste due essenziali correnti della giovane arte d’America e insieme le scavalca con una felicità e una (apparente) facilità che solo un puro, prezioso “candido” poe- ta come egli è poteva trovare con tanta naturalezza a tanta profondità.» [VIVALDI, Cesare. “Cy Twombly tra ironia e lirismo”. En: DE MARTIIS, Plinio (ed.). Quaderno febbraio 1961. Roma: Galleria La Tartaruga, 1961.] «[...] Cy Twombly fu un fenomeno straordinario. Un caso molto straordinario. Un caso molto strano. [...]. Era un out- sider. Ma io continuai a esporlo e alla fine ebbe successo, un gran successo, a dire il vero, e ricevette quel riconoscimento che aveva atteso tanto a lungo. Twombly lavorava molto lon- tano dagli Stati Uniti, ma quello che faceva si rivelò estrema- mente importante.» «“I quadri di Cy Twombly furono giudicati incomprensibili e non ne fu acquistato nemmeno uno”, ha ricordato Ivan Karp, assistente di Castelli a partire dal 1959. “Leo e io pensavamo che fosse un artista eccezionale. […]. Penso ancora che sia uno dei migliori, nonché una persona squisita e intelligente.» [ JONES, Alan. Leo Castelli. L’italiano che inventò l’arte in America. Roma: Alberto Castelvecchi Editore, 2007, pp.150-151.] «[...] saltano agli occhi per la loro contiguità poetica, in cui l’uso della scrittura come percorso mentale si traduce in un flusso verbale e segnico che si libra, amalgamato nella mate- ria pittorica, sul bianco vuoto e infinito della tela dove si per- cepisce l’eco leggera della poesia di Mallarmé: sono George Noël, Gastone Novelli e Cy Twombly.» «Il segno incerto e frammentario di Twombly è più vicino alla scrittura automatica surrealista del dripping di Pollock, con cui comunque dialoga: e più che un dialogo sembra una “critica”, uno spostamento dalla dimensione epica del “più grande pittore americano” a quella lirica.» [RINALDI, Marco. “Una pagina in altezza su un limbo di cielo. Noël, Novelli, Twombly e l’onda lunga di Mallarmé”. En: SCHIAFFINI, Ilaria; ZAMBIANCHI, Claudio. Contemporanea. Scritti di storia dell’arte —per Jo- landa Nigro Covre—. Saggi di Storia Dell ‘arte. Roma: Campisano Editore, 2013, pp. 255-57.] «Twombly revelaba hasta qué punto estas figuras literarias viven en su imaginación y mostraba su decisión de hacerlas vivir y compartirlas con el espectador.» [SMITH, Roberta. “El gran mediador”. En: SZEEMAN, Harald (com.). Cy Twombly: Cuadros, trabajos sobre papel, escultura. Madrid: Palacio de Cris- tal. Ministerio de Cultura, 1987, p. 19. Agradecimientos Me gustaría reconocer la guía de mi directora de la tesis, la Dra. Xesqui Castañer. Estoy muy agradecida al Dr. Francisco Gi- meno por su orientación entusiasta de este proyecto en el análisis críptico y, sobre todo, por su ayuda con el griego antiguo. Gracias también al Dr. Amadeo Serra, quien a lo largo de mis estudios académicos siempre ha sido un apoyo constante y me sugirió dos libros que forman parte esencial de la bibliografía de este proyecto. Mi agradecimiento al Dr. Claudio Zambianchi de la Sa- pienza Università di Roma por sus consejos durante mi estancia de investigación en Roma, y al Dr. Salvatore Settis, quien siem- pre se ha mostrado cercano e interesado por esta investigación. Quisiera aprovechar esta oportunidad para agradecer a todos los miembros del departamento d’Història de l’Art de la Universi- tat de València, y en especial a todos los docentes que me han acompañado a lo largo de todos estos años desde que empecé mis estudios en 2001. Mi gratitud a Fede Navarro por estar siempre alerta de todas las noticias relacionadas con Cy Twombly; al artista Peter Schnei- der por desplazarse al Museum Brandhorst en München y tomar fotografías allí donde yo no he podido; a Alejandro Mañas por facilitarme uno de los catálogos del artista editados en castellano y al equipo del Archivio di Stato di Latina por su predisposición y asistencia. Asimismo, quisiera dar las gracias a Biagio Signorello; a Fa- brizio Fasano e Francesca Turrini; a Eric, mi hermano, humanista y ávido lector incluso de mis trabajos y que me ha ayudado en la -7- ardua tarea de maquetación de esta tesis; a mi padre, David, por ser como es y por estar siempre ahí; y, por último, pero no menos importante, agradecerle a Mª Teresa, mi madre, esta oportunidad y su fe inquebrantable y a Andreu, mi compañero y amigo, por su paciencia infinita. -8- Índice 0. Cuestiones previas 15 1. Introducción 19 2. Estado de la cuestión 23 2. 1. Ámbito internacional 24 2. 1. 1. Inicios 24 2. 1. 2. Catálogos y artículos 30 2. 1. 2. 1. Pintura y dibujo 30 2. 1. 2. 2. Escultura 45 2. 1. 2. 3. Fotografía 49 2. 1. 3. Crítica de la escritura 51 2. 2. Ámbito nacional 55 2. 2. 1. Catálogos y artículos 55 2. 3. Trabajos de investigación 62 3. Objetivos 73 3. 1. Definición del objeto de estudio 74 3. 2. Objetivos de la investigación 75 3. 2. 1. Objetivos generales de la investigación 77 3. 2. 2. Objetivos específicos de la investigación 79 4. Metodología 81 4. 1. Marco teórico del proceso metodológico 82 4. 2. Metodología específica 83 4. 3. Descripción del proceso metodológico practicado 89 -9- 4. 3. 1. Primer periodo de investigación (2007-2009) 90 4. 3. 2. Segundo periodo de investigación (2012-2013) 93 4. 3. 3. Tercer periodo de investigación (2013-2017) 96 5. Fuentes 101 5. 1. Primarias 102 5. 2. Secundarias 103 I. PARTE. CONTEXTUALIZACIÓN Y EVOLUCIÓN 6. Metamorfosis de un artista: Edwin Parker Jr. - Cy Twombly 107 6. 1. Primera etapa (1928-1952) 111 6. 1. 1. Edad temprana y educación (1928-52) 111 6. 2. Segunda etapa (1952-1956) 134 6. 2. 1. Europa y Norte de África (1952-53) 134 6. 2. 2. Servicio militar y docencia en Virginia (1953-56) 154 6. 3. Tercera etapa (1957-1964) 170 6. 3. 1. Roma (1957-58) 170 6. 3. 2. Año clave en vida y obra, 1959 188 6. 3. 3. Un nuevo estilo: temas y colores (1960-61) 196 6. 3. 4. Retratos de la historia (1962-1964) 201 6. 4. Cuarta etapa (1965-1989) 212 6. 4. 1. Pinturas grises y obras conexas (1966-72) 212 6. 4. 2. Campo alusivo a la escritura (1972-1977) 226 6. 4. 3. De lo épico a la sublimidad de la naturaleza (finales de los 1970 y 1980) 234 6. 5. Quinta etapa (1990-2011) 257 -10- 6. 5. 1. Flores y Luz: Gaeta, Seychelles (1990-1993) 257 6. 5. 2. Añoranza: el Mar y el barco (1993-2001) 267 6. 5. 3. Explosión de color y liberación del trazo (2004-2011) 273 7. Interrelación en el arte de postguerra: New York- Roma 50s- 60s 295 8. Transmutación verbal en la neovanguardia italiana 347 8. 1. Desarrollo artístico entre palabra e imagen en el arte italiano de los 60’s y 70’s 348 8. 1. 1. Juego lingüístico entre el arte y la literatura 352 8. 1. 2. Introducción y aceptación de la escritura en el campo pictórico italiano 356 8. 1. 3. Novelli y Twombly: una mirada hacia la escritura 359 9. Nuevo flujo artístico: el camino a la postmodernidad 371 9. 1. Significado extra-individual y cohesión referencial en el mundo artístico del siglo XX. 372 9. 2. El individualismo artístico: condición postmoderna 382 10. Analogías y características formales y estilísticas en la obra de Twombly 387 10. 1. Mitología y literatura en Twombly 390 10. 1. 1. Mitología 391 10. 1. 2. Literatura 397 10. 1. 2. 1. Stéphane Mallarmé (1842-1898) 399 10. 1. 2. 2. John Keats (1795-1821) 401 10. 1. 2. 3. Rainer Maria Rilke (1875-1926) 402 -11- 10. 1. 2. 4. Ezra Pound (1885-1972) 408 10. 2. La escritura como gesto deviene trazo y engendra cultura en la torpeza elegante de Twombly 411 10. 2. 1. La evocación de los títulos y palabras que acaban en garabatos en la obra de Twombly 427 10. 3. Infantilismo de Twombly como juego 440 10. 4. Gramaticalidad y poeticidad en su obra 448 10. 5. El color en su obra 460 10. 6. Material y soporte 471 10. 7. Erotismo y sexualidad en Twombly 474 10. 8. El efecto, lo bello y lo sublime 479 II. PARTE. ANÁLISIS PICTÓRICO CRÍPTICO 11. Dualidad italiana: esplendor y decadencia 493 11. 1. Lo profano y escatológico 496 11. 1. 1. Ferragosto (1961) 509 11. 2. Otras génesis: espuma, sangre y erotisme 524 11. 3. Exceso, abundancia y sexualidad en un escenario lascivo 537 11. 3. 1. Leda and the Swan (1963 y 1980) 540 12. Mediterraneum 549 12. 1. El gran mar 555 12. 2. Navis 558 12. 2. 1. Un pasaje a través de todo 562 12. 2. 1. 1. Say Goodbye, Catullus, to the Shores of Asia Minor (1994) 568 -12- 12. 2. 1. 2. Quattro Stagioni (1993-1995) 583 12. 2. 1. 3. Three studies from the Temeraire (1998-1999) 593 12. 2. 1. 4. Coronation of Sesostris (2000) 599 12.
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