Attributed to Cy Twombly, it does not have a COA. Medium: oil canvas. 30.5 x 26.5 inches. Provenance: private owner.
Biography: 1928 - 2011. Cy Twombly, whose spare, childlike scribbles and poetic engagement with antiquity left him stubbornly out of step with the movements of postwar American art even as he became one of the era's most important painters, died on Tuesday in Rome. He was 83.His death was announced by the Gagosian Gallery, which represents his work. Mr. Twombly had battled cancer for several years.In a career that slyly subverted Abstract Expressionism, toyed briefly with Minimalism, seemed barely to acknowledge Pop art and anticipated some of the concerns of Conceptualism, Mr. Twombly was a divisive artist almost from the start. The curator Kirk Varnedoe, on the occasion of a 1994 retrospective at the Museum of Modern Art, wrote that his work was "influential among artists, discomfiting to many critics and truculently difficult not just for a broad public, but for sophisticated initiates of postwar art as well."The critic Robert Hughes called him "the Third Man, a shadowy figure, beside that vivid duumvirate of his friends Jasper Johns and Robert Rauschenberg."Mr. Twombly's decision to settle permanently in southern Italy in 1957 as the art world shifted decisively in the other direction, from Europe to New York, was only the most symbolic of his idiosyncrasies. He avoided publicity throughout his life and mostly ignored his critics, who questioned constantly whether his work deserved a place at the forefront of 20th century abstraction, though he lived long enough to see it arrive there. It didn't help that his paintings, because of their surface complexity and whirlwinds of tiny detail — scratches, erasures, drips, penciled fragments of Italian and classical verse amid scrawled phalluses and buttocks — lost much of their power in reproduction.But Mr. Twombly, a tall, rangy Virginian who once practiced drawing in the dark to make his lines less purposeful, steadfastly followed his own program and looked to his own muses — often literary ones, like Catullus, Rumi, Pound and Rilke. He seemed to welcome the privacy that came with unpopularity."I had my freedom and that was nice," he said in a rare interview, with Nicholas Serota, the director of the Tate, before a 2008 survey of his career at the Tate Modern.The critical low point probably came after a widely panned 1964 exhibition at the Leo Castelli Gallery in New York. The artist and writer Donald Judd, who was hostile toward painting in general, was especially damning, calling the show a fiasco. "There are a few drips and splatters and an occasional pencil line," he wrote in a review. "There isn't anything to these paintings."But by the 1980s, with the rise of neo-Expressionism, a generation of younger artists like Jean-Michel Basquiat found inspiration in Mr. Twombly's skittery bathroom-graffiti scrawl. Coupled with rising interest in European artists whose work shared unexpected ground with Twombly's, like Joseph Beuys, the newfound attention brought him a kind of critical favor he had never enjoyed before. And by the next decade, he was highly sought after not only by European museums and collectors, who had discovered his work early on, but also by those back in his homeland who had not known what to make of him two decades before.In 1989, the Philadelphia Museum of Art opened permanent rooms dedicated to his monumental 10-painting cycle, Fifty Days at Iliam, based on Alexander Pope's translation of The Iliad. (Mr. Twombly said that he purposely misspelled Ilium, a Latin name for Troy, with an "a," to refer to Achilles.) That same year, Mr. Twombly's work passed the million dollar mark at auction. In 1995, the Menil Collection in Houston opened a new gallery dedicated to his work, designed by Renzo Piano after a plan by Mr. Twombly himself. Despite this growing acceptance, Mr. Varnedoe still felt it necessary to include an essay in the Modern's newsletter at the time of the retrospective, titled "Your Kid Could Not Do This, and Other Reflections on Cy Twombly."In the only written statement Mr. Twombly ever made about his work, a short essay in an Italian art journal in 1957, he tried to make clear that his intentions were not subversive but elementally human. Each line he made, he said, was "the actual experience" of making the line, adding: "It does not illustrate. It is the sensation of its own realization." Years later, he described this more plainly. "It's more like I'm having an experience than making a picture," he said. The process stood in stark contrast to the detached, effete image that often clung to Mr. Twombly. After completing a work, in a kind of ecstatic state, it was as if the painting existed but he himself barely did anymore: "I usually have to go to bed for a couple of days," he said.Edwin Parker Twombly Jr., was born in Lexington, Va., on April 25, 1928, to parents who had moved to the South from New England. His father, a talented athlete who pitched a summer for the Chicago White Sox and went on to become a revered college swimming coach, was nicknamed Cy, after Cy Young, the Hall of Fame pitcher. The younger Mr. Twombly (pronounced TWAHM-blee) inherited the name, though he was much more bookish than athletic as a child, with stooped shoulders and a high ponderous forehead. He read avidly and, discovering his calling early, he worked from art kits he ordered from the Sears Roebuck catalog. As a teenager, he studied with the Spanish painter Pierre Daura, who had left Europe after the Spanish Civil War and settled in Lexington. Daura's wife, Louise Blair, studied cave paintings and may have sparked Mr. Twombly's early interest in Paleolithic art.In 1947 he attended the Boston Museum School, where German Expressionism was the rage, but Mr. Twombly gravitated to his own interests, like Dada and Kurt Schwitters and particularly to Jean Dubuffet and Alberto Giacometti, two important early influences. He moved back to Lexington in 1949 and studied art at Washington and Lee University, where his talent impressed teachers. By 1950, he was in New York, the recipient of a scholarship to the Art Students League. Later in his life, he cited visiting Willem de Kooning's studio and seeing an Arshile Gorky retrospective at the Whitney Museum of American Art as important moments in his young painting life. But he also came to New York at the heyday of the New York School and was exposed to the work of almost all its giants in the city's galleries. He turned down an offer for a solo show of his paintings at the Art Students League in 1950, saying that he felt it was too early for him.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Mint based on the description