Cy Twombly, Cycles and Seasons (Hand signed and inscribed by Cy Twombly), 2008

Cy Twombly

Cycles and Seasons (Hand signed and inscribed by Cy Twombly), 2008

Hard cover with dust jacket as issued (Hand signed and inscribed to Steve by Cy Twombly)

Hand signed and inscribed by Cy Twombly on the title page

12 × 10 × 1 1/2 inches

Unframed

This lavishly illustrated hard back monograph with four gatefold spreads is hand signed and inscribed in ink to Steve by Cy Twombly on the title page.
Makes a superb gift!

Book information:
Publisher ‏ : ‎ Tate/D.A.P.; 1st edition (September 1, 2008)
English; Hardcover; ‎ 256 pages / 4 gatefolds / 154 color / 20 bw

Publisher's blurb:
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.

More about Cy Twombly:
To my mind, one does not put oneself in place of the past; one only adds a new link.
—Cy Twombly

Cy Twombly (1928–2011) developed a gestural vocabulary in which each line and color is infused with energy, spirituality, and meaning. Emerging as a prominent figure in the mid-1950s following extensive travels throughout Europe and North Africa, he produced works that are simultaneously personal and mythological, allowing narrative, language, and inner visions to erupt from his intimate, abstract notations.

Twombly was born in 1928 in Lexington, Virginia, and studied art in Boston and New York, then at Black Mountain College in North Carolina in the early 1950s. Although he was a contemporary of Robert Rauschenberg and Jasper Johns, his work soon digressed from the aims of American postwar abstraction. While prevailing tendencies of the period, such as Pop art, sought to abandon historical narratives altogether, Twombly directed his focus toward ancient, classical, and modern poetic traditions. In the late 1950s he moved to Italy, where he produced colorful, diagrammatic works, such as Ode to Psyche (1960), that feature erotic allusions and sly jokes while maintaining an abstract charge. Shortly thereafter the sebaceous, bright colors of these works gave way to the more austere grays and blues of the “blackboard” paintings, in which terse, white scrawls and loops recall the powdery effects of chalk on a blackboard. As Twombly continued to work in various locations over the following decades—including Rome, Lexington, and his final residence, in Gaeta, Italy—places, landscapes, and natural forms came to figure prominently in his drawings, collages, photographs, and watercolors.

For Twombly, the poetic and the rational were not mutually exclusive. Collage, which engaged him briefly in 1959, then began to appear more regularly in 1971, allies Twombly to the Dadaists and their descendants, such as Rauschenberg and Johns. Visual information from everyday life—travel postcards, reproductions of paintings, scientific illustrations, personal drawings, and more—entered his work as a way to explore the potential of both structure and meaning.

From his student days on, Twombly also captured his daily life in photographs. He recorded the verdant landscapes of Virginia and the coasts of Italy; close-up details of ancient buildings and sculptures; studio interiors; and still lifes of objects and flowers. Beginning in the early 1990s, he used specialized copiers to enlarge his Polaroid images on matte paper, resulting in subtle distortions that approximate the timeless qualities of his paintings and sculptures.

In 1995 the Cy Twombly Gallery opened across the street from the Menil Collection in Houston. A collaboration between the Menil, Dia Foundation, and Twombly himself, the gallery serves as a permanent home for a number of important works made between 1953 and 2004. Included is the series of paintings Analysis of the Rose as Sentimental Despair (1985), which features floral forms in deep reds, pinks, and purples, with quotations from Rainer Maria Rilke, Rumi, and Giacomo Leopardi. In 2010 Twombly was selected to install a permanent work at the Louvre: a painted ceiling for the Salle des Bronzes. The Ceiling spans 3,750 square feet and pays homage to the greatest Hellenic sculptors, from Phidias to Praxiteles, each of their names inscribed over an immense blue sky populated by floating, cosmic orbs.

Courtesy of Gagosian Gallery