We investigate Cy Twombly's paths up to the constitution of a writing that became a signature. In... more We investigate Cy Twombly's paths up to the constitution of a writing that became a signature. In the development of his poetics, we highlight, as relevant references, his Black Mountain College professors-Charles Olson, Robert Motherwell and John Cageand his friend Robert Rauschenberg. The scripture in Twombly is approached from several theoretical references, with emphasis on Roland Barthes" notions, although we do not neglect to consider the semantic implications of this writing. We seek precisely to show the ambiguous relations between chance and control, and between sense and non sense present in Twombly"s enigmatic work. Mary Jacobus, who shows us a scholarly and politically engaged Twombly, is the main reference in the relation of the artist to literature. We also try to inscribe Twombly's work according to the changes in the artistic imaginary, explaining its affinities with several contemporary artists. We also highlight his conflicting relationship with American criticism, investigating the reasons for his unimpressive recognition in America, compared to his acceptance by the critics of European art, in particular French.
We investigate Cy Twombly's paths up to the constitution of a writing that became a signature. In... more We investigate Cy Twombly's paths up to the constitution of a writing that became a signature. In the development of his poetics, we highlight, as relevant references, his Black Mountain College professors-Charles Olson, Robert Motherwell and John Cageand his friend Robert Rauschenberg. The scripture in Twombly is approached from several theoretical references, with emphasis on Roland Barthes" notions, although we do not neglect to consider the semantic implications of this writing. We seek precisely to show the ambiguous relations between chance and control, and between sense and non sense present in Twombly"s enigmatic work. Mary Jacobus, who shows us a scholarly and politically engaged Twombly, is the main reference in the relation of the artist to literature. We also try to inscribe Twombly's work according to the changes in the artistic imaginary, explaining its affinities with several contemporary artists. We also highlight his conflicting relationship with American criticism, investigating the reasons for his unimpressive recognition in America, compared to his acceptance by the critics of European art, in particular French.
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