Cy
Twombly

Twombly's passion for classical antiquity was a defining feature of his artistic oeuvre, deeply influencing his thematic and stylistic choices. Having lived in Italy for the majority of his life, Twombly was constantly surrounded by the remnants of ancient Rome and the Renaissance, environments that infused his work with a unique blend of the contemporary and the classical. This fascination with the classical world was not just superficial or stylistic, but rather deeply intellectual: he was known for his extensive knowledge of Greek and Roman mythology, history and literature, which often served as direct inspiration for his work. In Fifty Days at Iliam, for example, Twombly's abstract style merges with the epic narrative as his gestural brushstrokes and scribbles invoke the tumult and tragedy of ancient myths and battles.

Moreover, Twombly's approach to classical antiquity was one of reverence and homage, but also of personal reinterpretation and reinvention. His art often featured names and snippets of ancient texts, although these elements were integrated into his signature abstract, graffiti-like style. This blending of the ancient and the modern allowed Twombly to bridge worlds, creating a dialogue between past and present. This intertwining of the classical and the contemporary in Twombly's work offered a fresh perspective on antiquity, one that is not confined to the academic or the traditional. For Twombly, the ancient world was not a static relic but a source of ongoing inspiration, capable of being reinterpreted and reimagined in endlessly novel ways. Twombly's legacy, therefore, lies not only in his distinctive artistic style but also in his ability to make the ancient world resonate with modern sensibilities, making him a unique and enduring figure in the world of contemporary art.

Twombly's past as a cryptologist in the U.S. Army during the 1950s played a significant role in shaping his unique artistic style, particularly as his signature scribbles and coded marks became hallmarks of his work. While serving as a cryptographer, Twombly was exposed to the world of codes and hidden messages, an experience that profoundly influenced his approach to art. During this time, Twombly was trained to understand and create complex codes, a skill that requires a deep appreciation of the power of symbols and the subtleties of language. This background informed his artistic practice, where he often incorporated symbols, letters and words into his paintings and drawings. However, unlike the clear and precise language of codes, Twombly's use of text was intentionally ambiguous and open to interpretation. His scribbles and marks, at times resembling shorthand or ancient script, invite viewers to decode and derive meaning by themselves, echoing his cryptologist past.

In Twombly's art, the message is not necessarily meant to be decrypted in a traditional sense, but rather to evoke emotion and provoke thought. The seemingly random and chaotic elements in his works carry an underlying structure and meaning, much like the encrypted messages he would have encountered in his military service. This cryptic quality lends his work a sense of mystery and depth, as viewers engage in a sort of mental deciphering to grasp the nuances of his art. His paintings often resemble a form of gestural writing, where each stroke is both a graphic mark and a symbolic gesture; this duality reflects the nature of cryptology, which straddles the line between the literal and the metaphorical, the seen and the unseen.

Twombly's relationship with fellow artists Johns and Rauschenberg were pivotal in shaping not only their respective careers but also the broader landscape of 20th-century art. These three artists, each distinctive in their style and approach, became iconic figures of their time and are responsible for influencing generations of artists, altering the course of modern art. Twombly met Rauschenberg and Johns in the early 1950s, a period marked by a burgeoning art scene in New York City. This was a time when Abstract Expressionism was the dominant force in American art, yet each of these artists sought to carve out their own unique path. Rauschenberg and Johns were both from the South like Twombly, thus sharing similar sensibilities and a keen desire to challenge the status quo. Their friendships were grounded in a mutual respect for each other's work and an understanding of the importance of breaking new ground in art.

Twombly's interaction with Johns and Rauschenberg was significant in the sense that all three were exploring alternatives to the then-dominant modes of Abstract Expressionism. While Johns was known for his use of flags, targets and numbers – offering a new take on familiar symbols – and Rauschenberg was pioneering in his Combines, which merged aspects of painting and sculpture, Twombly was developing his signature scribbled, calligraphic style. Despite their differing approaches, there was a common thread of reimagining the role of objects and symbols in art which distinctly linked their works. As their careers progressed, Twombly, Johns and Rauschenberg achieved significant recognition. Their work collectively helped to usher in new movements and styles, such as Pop Art and Neo-Dada, which challenged traditional notions of art and opened up new possibilities for artistic expression. Their impact was not just in their individual achievements but also in how they, as a collective force, helped to redefine the boundaries of art in the 20th century.