Cy Twombly Agori Öl, Gouache und Bleistift auf Fabriano-Karton. 70 x 50 cm. Unter Glas gerahmt. Signiert und betitelt 'AGORI Cy Twombly'. Rückseitig signiert, datiert und betitelt 'Cy Twombly sketch for Agori 1966'. - Mit Atelierspuren. Del Roscia 141 Provenienz Galleria Notizie, Turin; Galerie Karsten Greve, Köln; Privatsammlung, Rheinland Ausstellungen Köln 1975 (Galerie Karsten Greve), Cy Twombly, Bilder und Zeichnungen, Ausst.Kat., o.S. mit Abb. Mit der Weiterentwicklung des Abstrakten Expressionismus schuf Cy Twombly eines der einflussreichsten und faszinierendsten Künstler-Oeuvres des 20./21. Jahrhunderts. Ab 1957 lebte Twombly hauptsächlich in Rom, wo er sich mit der Kunst und Kultur des Mittelmeerraums auseinandersetzte. In seinen symbolisch aufgeladenen Werken kombinierte er - meist in Anspielung auf antike Mythen und Literatur - geschriebene Versatzstücke sowie chiffrehaft anmutende und malerisch ausgeführte Elemente. Wie der Philosoph und Literaturwissenschaftler Roland Barthes betont, wird die zeichnerisch geführte Linie ein werkkonstituierendes Ausdrucksmittel des Künstlers: „Twombly's art consists in making us see things: not those which he represents (this is another problem), but those which he manipulates: a few pencil strokes, this squared paper, this touch of pink, this brown smudge. This is an art with a secret, which is in general not that of spreading the substance (charcoal, ink, oils) but of letting it trail behind. One might think that in order to express the character of pencil one has to press it against the paper, to reinforce its appearance, to make it thick, intensely black. Twombly thinks the opposite: it is in holding in check the pressure of matter, in letting it alight almost nonchalantly on the paper so that its grain is a little dispersed, that matter will show its essence and make us certain of its correct name: this is pencil. If we wanted to philosophize a little, we would say that the essence of things is not in their weight but in their lightness; and we would thereby perhaps confirm one of Nietzsche's statements: “What is good is light”: and indeed, nothing is less Wagnerian than Twombly.” (Roland Barthes, The wisdom of art, in: Cy Twombly, Paintings and drawings, 1954-1977, Ausst.Kat. Whitney Museum of Art, New York 1979, S.9/10) Cy Twombly Agori Oil, gouache and pencil on Fabriano cardboard. 70 x 50 cm. Framed under glass. Signed and titled 'AGORI Cy Twombly'. The verso signed, dated and titled 'Cy Twombly sketch for Agori 1966'. - Traces of studio. Del Roscia 141 Provenance Galleria Notizie, Turin; Galerie Karsten Greve, Cologne; private collection, Rhineland Exhibitions Cologne 1975 (Galerie Karsten Greve), Cy Twombly, Bilder und Zeichnungen, exhib.cat., n. pag. with illus. With the advancements of Abstract Expressionism, Cy Twombly created one of the most important and most fascinating artist's oeuvre of the 20th/21st century. From 1957, Twombly mainly lived in Rome where he concentrated on the art and culture of the Mediterranean region. In his symbolically charged works, he combines written clichés as well as cypher-like and painterly elements - mainly alluding to antique myths and literature. As the philosopher and literary scholar Roland Barthes points out, the drawn line becomes one of the artist's works primary means of expression: 'Twombly's art consists in making us see things: not those which he represents (this is another problem), but those which he manipulates: a few pencil strokes, this squared paper, this touch of pink, this brown smudge. This is an art with a secret, which is in general not that of spreading the substance (charcoal, ink, oils) but of letting it trail behind. One might think that in order to express the character of pencil one has to press it against the paper, to reinforce its appearance, to make it thick, intensely black. Twombly thinks the opposite: it is in holding in check the pressure of matter, in letting it alight almost nonchalantly on the paper so that its grain is a little dispersed, that matter will show its essence and make us certain of its correct name: this is pencil. If we wanted to philosophize a little, we would say that the essence of things is not in their weight but in their lightness; and we would thereby perhaps confirm one of Nietzsche's statements: “What is good is light”: and indeed, nothing is less Wagnerian than Twombly.' (Roland Barthes, The wisdom of art, in: Cy Twombly, Paintings and drawings, 1954-1977, exhib.cat. Whitney Museum of Art, New York 1979, p.9/10)