Beruflich Dokumente
Kultur Dokumente
The First Part of the Return from Parnassus and the Second Part of the Return from Parnassus
Author(s): James Rondeau
Source: Art Institute of Chicago Museum Studies, Vol. 34, No. 1, Notable Acquisitions at the Art
Institute of Chicago (2008), pp. 40-41, 95
Published by: The Art Institute of Chicago
Stable URL: http://www.jstor.org/stable/20205578
Accessed: 08-08-2015 06:54 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.
The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago
Museum Studies.
http://www.jstor.org
This content downloaded from 83.137.211.198 on Sat, 08 Aug 2015 06:54:22 UTC
All use subject to JSTOR Terms and Conditions
Tf?ff*
Cy Twombly
(American,
born
1928)
Parnassus
Parnassus
1961
Oil
1961
paint,
ENDOWMENT
OF WALTER AITKEN.
ENDOWMENT.
DIRECTOR'S
crayon,
THROUGH
OF MARCIA
FAMILY
IN MEMORY
STENN. 2007.64
ESTATE
LAURA T. MAGNUSON
ACQUISITION
FUND. 2007.63
canvases merge
drawing, painting, improvisational writing, and symbolic
gesture in thepursuit of a direct, intuitiveformof expression.
TWOMBLY'S
Wax
CY
DISTINCTIVE
these
canvases
present
complementary
aspects
Varnedoe
More
4o
This content downloaded from 83.137.211.198 on Sat, 08 Aug 2015 06:54:22 UTC
All use subject to JSTOR Terms and Conditions
IT
Y
?(Et
in extreme
compression
the
contradictions
of
'griminess'
pictograms
and often
active,
insistent
references
to
corporeal
?AjK~fJwy*L-%to*
Plays,
a series
of
sixteenth-
and
seventeenth
partly motivated
Twombly's own move from the United States to Italy in
1959. These are, indeed, paintings made by an American
artist abroad. In their newly exuberant scale and color,
as reflecting
Twombly's works of 1961 have also been seen
his response to the great architectural spaces of Rome,
embracing the city's grandeur and decadence in its ancient,
Baroque,
and modern
incarnations.2
JAMES RONDEAU
41
This content downloaded from 83.137.211.198 on Sat, 08 Aug 2015 06:54:22 UTC
All use subject to JSTOR Terms and Conditions
Woman
Abrams, 2003); and Gilles Deleuze, Frances Bacon: The Logic of Sensation,
trans.Daniel W. Smith (University ofMinnesota Press, 2003).
Gold Mats, Paired?for Ross and Felix, Some Thames, and Were II, pp. 46-47.
1.Roni Horn, quoted inKathleen Merrill Campagnolo, StillWater (The River
Thames, for Example) (Site Santa Fe, 2000), n.pag.
Queen Luise ofPrussia, pp. 60-61.
i. For more on Rauch's effigy,see Juttavon Simson, Christian Daniel Rauch:
Oeuvre-Katalog (Mann, 1996), pp. 64-69. On Schadow's career in general, see
G?tz Eckhardt, Johann Gottfried Schadow, 1764-1850: Der Bildhauer (E. A.
Seemann, 1990).
Painting (Asia Society/Harvard University Press, 1987) pp. 31, fig. 16, 45; for
that in theMittal Museum (76.681), see George Michell, Catherine Lampert,
and Tristram Holland, eds., In the Image ofMan: The Indian Perception of the
Universe through 2000 Years of Painting and Sculpture, exh. cat. (Arts Council
of Great Britain/Weidenfeld andNicolson, 1982), p. 105.
Couch-Bed(Luohan
chuang), pp. 32-33.
1.Wang Shixiang and Curtis Evarts,Masterpieces from theMuseum
Chinese Furniture (Chinese Art Foundation, 1995), p. 12, cat. 6.
ofClassical
Chaekkori,pp. 34-35.
i. This entrywas greatly informed by Kay E. Black and Edward W. Wagner,
"Ch'aekkori Paintings: A Korean Jigsaw Puzzle," Archives ofAsian Art 46
(I993)> PP- 63-75; andWilliam Lipton and Yvonne Wong, "A Folding Screen
of Eight Paintings: Ch'aekkori," inWelcoming theAutumn Breeze, exh. cat.
(William Lipton, Ltd., 2004), n.pag, cat. 15.
The First Part of theReturn from Parnassus and The Second Part of theReturn
from Parnassus, pp. 40-41.
1.Kirk Varnedoe, "Inscriptions inArcadia," inCy Twombly: A Retrospective,
exh. cat. (Museum ofModern Art, New York/Harry N. Abrams, 1994), p. 34.
2. Ibid., p. 36.
Wall Drawing #274,Wall Drawing #574,Wall Drawing #821,andWall
Drawing #1257:Scribbles, pp. 42-43.
Wall Drawing #63 is shown as described inLeWitt's original diagram; Wall
Drawing #274was firstdrawn by Steingrem Laursen and Sol LeWitt and
is shown in itsfirst installation atGentofte Kommunes Kunstbibliotek,
was firstdrawn by Fransje
Copenhagen, Sept. 1975;Wall Drawing #574
Henry Levine, Sunhee Lim, Jason Livingston, Emil Memon, Travis Molkenbur,
and Caroline Rothwell and is shown in itsfirst installation atAce Gallery,
New York, Apr. 1997;Wall Drawing #1257: Scribbles was firstdrawn by
Takeshi Arita, Eileen Jeng, and Jason Stec and is shown in itsfirst installation at
theArt Institute of Chicago, Mar. 2008.
1.Bernice Rose, "Sol LeWitt and Drawing," inSol LeWitt: The Museum of
Modern Art, ed. Alicia Legg, exh. cat (Museum ofModern Art, 1978), p. 31.
Eugene "Bull" Connor, were notorious for theiruse of violence. The U.S.
Department of Justice eventually intervened,negotiating the desegregation of
downtown stores, a new integrated city commission, and the release of all jailed
student protesters in exchange for an end to the boycotts and demonstrations.
3. Even when photographs did not appear, theBirmingham demonstrations
remained front-page news. For PDF files of this coverage, seeNew York Times,
May
(1851-2004), www.proquest.com.
4.1 thankGregory Harris forbringingmy attention to thewebsite www.
al.com/unseen, which featuresNorman Dean's photograph ofMattie Howard.
5.Back Streetwas a 1961 release starringSusan Hayward as an alluring
95
This content downloaded from 83.137.211.198 on Sat, 08 Aug 2015 06:54:22 UTC
All use subject to JSTOR Terms and Conditions