Synopsis of a Battle (Primary Title)
“What I am trying to establish is that Modern Art isn’t dislocated, but something with roots, tradition and continuity. For myself the past is the source (for all art is vitally contemporary).”—Cy Twombly (From the 1952 fellowship application to the Virginia Museum of Fine Arts)
The vibrant, freewheeling compositions of Virginia-born Cy Twombly often allude to historical and mythological subjects. In Synopsis of a Battle, what appear to be random, chalklike scrawls on a slate gray blackboard are actually drawn and painted signs and symbols that refer to a specific event—the Battle of Issus (333 BC), in which Alexander the Great defeated Darius of Persia’s much larger army.
Among the work’s cryptic, graffiti-like markings, the words “Issus” (top left) and “flank” (left and right) provide clues to the painting’s military subject. The radiating, or flanking, form suggests diagrams of troop movements.
Twombly combines the energy of Abstract Expressionist gesture with the simplifying urges of Minimalism. The painting also reflects the inquiring attitude of Conceptual Art. Twombly is interested in language as both a visual form and a mental construct, here capable of bringing the past vitally into the present.
William and Mary Collects, Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA, October 1983 - January 1984
Cy Twombly Paintings and Drawings 1954 - 1977, Whitney Museum of American Art, New York, NY, April 6 – 30, 1979
20th Century Art from Friends Collections, Whitney Museum of American Art, New York, NY, July 27 – October 5, 1977
Contemporary Painting from the Lewis Collection, Delaware Art Museum, Wilmington, DE, September – October 27, 1974
Washington & Lee University, Lexington, VA, October 3 – 28, 1973
American Painting 1970, Virginia Museum of Fine Arts, Richmond, VA, May 4 – June 7, 1970
The Lewis Collection, Martha S. Grafton Library Gallery, Mary Baldwin College, Staunton, VA, April 6 – 10, 1969
Hallman, Randy. “Painter Cy Twombly Dies at 83.” Richmond Times-Dispatch, July 6, 2011: B1, B6. (P. B6).
Cullinan, Nicholas. Twombly and Poussin: Arcadian Painters. London: Paul Holberton Publishing, 2011. (P. 42; no. 25, p. 43).
Daigle, Claire. “Lingering at the Threshold between Word and Image.” TATE ETC., no. 13 (Summer 2008): 62-69. (P. 62).
Barriault, Anne B., and Kay M. Davidson. Selections from the Virginia Museum of Fine Arts. Richmond, VA: Virginia Museum of Fine Arts, 2007. (pp. 308-309, ill. pp. 294-295, 309)
Ravenal, John B. Modern and Contemporary Art at the Virginia Museum of Fine Arts. Richmond: Virginia Museum of Fine Arts, 2007. (Pp. 40-41).
Bastian, Heiner, ed. Cy Twombly Catalogue Raisonne of the Paintingsm 1966-1971. Volume III. Munich: Schirmer/Mosel, 1994. (No. 66, p. 153).
Klinkowitz, Jerome. Rosenberg/Barthes/Hassan: The Postmodern Habit of Thought. Athens: The University of Georgia Press, 1988. (Pp. 52-53).
Brandt, Frederick R. Late 20th Century Art. Richmond: Virginia Museum of Fine Arts, 1985. (No. 95, p. 194-195).
Myers, John Bernard. "Marks: Cy Twombly." Artforum (April 1982): 50-57. (P. 55).
Barthes, Roland. Cy Twombly: Paintings and Drawings, 1954-1977. New York: Whitney Museum of American Art, 1979. (P. 60).
Sheffield, Margaret. “Cy Twombly: Major Changes in Space, Idea, and Line.” Artforum 17 (May 1979): 40-45. (P. 41; 45).
Bastian, Heiner. Cy Twombly: Builder Paintings, 1952-1976. Vol. I. Berlin: Propyleon Verlag, 1978.
Wyrick. Contemporary American Paintings from the Lewis Collection. Delaware: Delaware Art Museum, 1974. (P. 15).
Some object records are not complete and do not reflect VMFA's full and current knowledge. VMFA makes routine updates as records are reviewed and enhanced.