Cy Twombly

Galleria Frediano Farsetti, Prato
Galleria Soave, Alessandria
Acquired directly from the above by the present owner in the early 1990s

Basel, Kunstmuseum, Cy Twombly, Zeichnungen 1953-1973, 1973, p. 43, illustrated

Colours: The colours are fairly accurate in the catalogue illustration, although there is greater contrast in the original with the paper tone tending more towards cream in the original composition. Condition: This work is in fair condition. It has been laid down onto conservation board. There are repaired tears scattered throughout the composition running downwards from the extreme edges, in particular to the upper half of the composition. There is minor foxing to the centre right of the composition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Untitled is a subtle evocation of space and light that epitomises Cy Twombly's work of the beginning of the 1960s. Its delicate, deliberate markings in soft shades of pastel and pencil abound in lyrical gestures and sweeping movements across the surface, displaying the artist's familiar repertoire of cloudlike bursts, architectonic structures and ambivalent, biomorphic signs. 'These are parts of a general practice by which Twombly juxtaposes motifs of the irregular, organic and intuitional with marks connoting the systematic, unyielding and cerebral. Such oppositions are basic to his work[.]' (Kirk Varnedoe, Cy Twombly: A Retrospective, New York, The Museum of Modern Art, 1994, p. 34). 

The surface of Untitled is animated with gentle pinks and pale oranges, the composition structured by an intuitive choreography of form and formless, and light and lightness.  The most simple compositional device or mark is elevated by Twombly's genius to the most precious and exquisite status. The tender and tenacious treatment of line serves Twombly's overall compositional flux, manifest as a web-like mesh that captures a series of personal thoughts and memories.