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Cy Twombly

Cy Twombly

(1929 - 2011)
Born: Lexington, Virginia
Style: Post-Painterly Abstraction
Famous Works:
  • Leda and the Swan (1962)
  • III Notes from Salalah (Note II) (1968)
  • Suma (1982)
Cy Twombly's art is marked by its complex mass of marks, words, and scribbles on vast surfaces of paper and canvas. Many works consist of large pencil drawings unrestrained by order or arrangement. The lack of traditional design enables viewers to develop their own shapes within Twombly's drawings, and entice a thorough viewing. Twombly was trained at the Museum of Fine Arts, Boston, and the Art Students League, New York. His exposure to Franz Kline and Robert Motherwell inspired spontaneity in his work. At twenty-nine years old, Twombly settled in Rome, where he was able to surround himself with the art of the ancient Romans, as well as Renaissance masters. Greek and Roman myths often figure in his work, comprising part of his vocabulary of text, images, and gestures, and often acting as titles. Connections have been made between Jackson Pollock's abstractions and those of Twombly. Twombly's work differs, however, in it apparent disregard to composition or graphic quality. The child-like drawings float in and out of the viewer's conscience, as well as the surface of the painting. Despite the seemingly arbitrary patterns, Twombly used his drawings to overcome the customary notion of shape and form, drawing on the elements of unconscious thought. His work has received great acclaim in the last decade of the twentieth century.
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Latest Product Reviews

I really like these pencils. I accidentally found a technique that really exemplified the "magic" in them. Rolling the pencil to preserve the point and coloring in a circular motion really brings out the random beauty of the colors in coloring a small petaled flower like a zinnia. I have colored an entire picture with one pencil and gotten raves about it. The biggest drawback I am experiencing is the lack of tutorials to help people understand how to use them. I have seen critiques where the artist did not have a clue how to use them. I have also seen a Russian tutorial that shows a lot of blending techniques that really show some extraordinary effects. I am currently exploring their use for backgrounds. I like the pencils and find them a challenge to explore the "magic."
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As a cartoonist, I've found only the 100 nib to be one that acts like a brush in that it gives me the thick and thin line that I desire, and a very thin line as well. It handles well and is very flexible.
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