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Cy Twombly’s Mediterranean Passages
Manage episode 337200756 series 3379936
เนื้อหาจัดทำโดย The British School at Rome เนื้อหาพอดแคสต์ทั้งหมด รวมถึงตอน กราฟิก และคำอธิบายพอดแคสต์ได้รับการอัปโหลดและจัดหาให้โดยตรงจาก The British School at Rome หรือพันธมิตรแพลตฟอร์มพอดแคสต์ของพวกเขา หากคุณเชื่อว่ามีบุคคลอื่นใช้งานที่มีลิขสิทธิ์ของคุณโดยไม่ได้รับอนุญาต คุณสามารถปฏิบัติตามขั้นตอนที่แสดงไว้ที่นี่ https://th.player.fm/legal
A lecture by Mary Jacobus. To launch her book Reading Cy Twombly: Poetry in Paint (Princeton University Press, 2016), Mary Jacobus explores the use of quotations in one of his major paintings.
The American painter Cy Twombly (1928–2011), who lived in Rome from the 1950s onward, often spoke of himself as a ‘Mediterranean’ painter. His vast tripartite canvas, Say Goodbye, Catullus, to the shores of Asia Minor, spans two decades and was finally completed to coincide with his 1994 MoMA retrospective.
Previously known as Unfinished Painting, it exemplifies Twombly’s use of quotation. Say Goodbye includes a palimpsest of passages drawn from Rilke, Cavafy, and Seferis, among others. At a distance, it appears empty. Close-up, it provides a literary archeology.
How much do we need to know about Twombly’s quotations and how do they affect the viewer’s experience of his work?
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The American painter Cy Twombly (1928–2011), who lived in Rome from the 1950s onward, often spoke of himself as a ‘Mediterranean’ painter. His vast tripartite canvas, Say Goodbye, Catullus, to the shores of Asia Minor, spans two decades and was finally completed to coincide with his 1994 MoMA retrospective.
Previously known as Unfinished Painting, it exemplifies Twombly’s use of quotation. Say Goodbye includes a palimpsest of passages drawn from Rilke, Cavafy, and Seferis, among others. At a distance, it appears empty. Close-up, it provides a literary archeology.
How much do we need to know about Twombly’s quotations and how do they affect the viewer’s experience of his work?
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