Beschreibung:

20 PROPERTY OF A PROMINENT PRIVATE COLLECTION Cy Twombly Untitled 2006 acrylic on canvas 84 3/4 x 66 in. (215 x 167.8 cm) Signed “CT” upper left.
Provenance Thomas Ammann Fine Art, Zurich Exhibited Zurich, Thomas Ammann Fine Art AG, Cy Twombly June 1 – September 28, 2007 Literature G. Frei, Cy Twombly Thomas Ammann Fine Art AG, Zurich, 2007, pl. IV (illustrated) H. Bastian, Cy Twombly Catalogue Raisonné of the Paintings, Volume V, 1996-2007, Munich 2009, pp. 149-150 (illustrated) Catalogue Essay Each line now is the actual experience with its own innate history. It does not illustrate, it is the sensation of its own realization. The imagery is one of the private or separate indulgences rather than an abstract totality of visual perception. This is very difficult to describe, but it is an involvement in essence no matter how private into a synthesis of feeling, intellect etc. occurring without separation in the impulse of action. CY TWOMBLY (Cy Twombly “Documenti di una nuova figurazione: Toti Scialoja Gastone Novelli Pierre Alechinsky Achille Perilli Cy Twombly ” L’Esperienza moderna, no. 2 (August-September 1957) , p. 32.) Cy Twombly in one of the final paintings of his life, ultimately presents each element from his many series’ of works as interdependent. He cleverly integrates his many styles—the single line, the overlapping loops, the monochrome background, and rich bloodied red pigment—in a multiplelayered mystery. Untitled, 2006 is both constrained and explosive in its graphic clarity, rhythmical fluidity, lyrical elegance, and expressive calligraphy. Twombly presents what appears to be a multiple lines of text in a rhetoric that exceeds our realm of language. Instead, the poetry the flows from the interlacing lassos tells the story of a total artist; one who has not only reinterpreted the world around him, but also who has integrated his many interpretations into an ultimate autobiographical portrait. Untitled, 2006 presents a pictorial language that celebrates both the painterly and graphic arts, as well as the artist and his oeuvre. The present lot is from a series of paintings which were all completed in the autumn of 2006 in Cy Twombly’s hometown of Lexington, Virginia. Each work, while unique in character, shares a vertical format and similar height, with slight variations in width. Each painting is untitled and depicts crimson red lines flowing in circular motions reminiscent of handwriting. The red scripture is laid out on a monochrome ground, a recognizable feature of the artist’s various bodies of work. The lines fluctuate in thickness, superimposing a sense of three-dimensionality as the red pigment flows across the canvas with great fluidity and energy. The densely layered lines swell and break off, and even come to a halt as they move across the picture plane in what seems like an ecstatic dance. Flowing with a dynamism that brims with both script and symbol and order and chaos, and in a final celebration of color, texture and form. Twombly employs two acrylic colors in the making of, Untitled, 2006: the lighttoned paint of the background, applied with a broad brush, and the iron oxide red of the foreground, a pigment applied with a brush approximately 2 inches wide. The gentle cream colored ground infuses the red with a deep glow that radiates with intensity. Untitled is divided into four main horizontal sections: it begins at the top left with the initials “C.T.” followed by a garland of paint. Three horizontal rows follow below, each increasing in magnitude as the lines approach the bottom of the canvas. The linked “l” shapes of the first line are narrow and closely connected, even recognizable in form; in the second section, the script becomes more loosely connected, culminating in a peak at the center; and finally, in the third section, the script moves across the lower regiment of the canvas with overlapping chaos, losing its form almost entirely in its bold and vital strokes. The coagulated red paint at the beginning and end of each section forms watery rivulets of paint that run down the sides of the canvas with an atmospheric effect