View of the cycle Nine Discourses on Commodus (1963), Guggenheim Bilbao Museoa, Bilbao
90
View of the cycle Nine Discourses on Commodus (1963), Guggenheim Bilbao Museoa, Bilbao
90
96
97
96
97
Cat. 91–97 Pan, 1980
Part I: Oil, oil chalk, and graphite on paper, 38.5 × 47.5 cm Part II: Oil, oil chalk, and graphite on drypoint print on paper, 59 × 59 cm Part III: Oil, oil chalk, and graphite on paper, 76 × 57 cm Part IV: Oil, oil chalk, and graphite on paper, 132.5 × 150 cm Part V: Oil, oil chalk, and graphite on offset printing paper, 70 × 48,5 cm Part VI: Oil, oil chalk, and graphite on offset printing paper, 70 × 48.5 cm Part VII: Oil, oil chalk, and graphite on paper, 65.5 × 50 cm Centre national des arts plastiques, Donation Yvon Lambert à l’État français, on deposit at the Collection Lambert en Avignon
148
Cat. 91–97 Pan, 1980
Part I: Oil, oil chalk, and graphite on paper, 38.5 × 47.5 cm Part II: Oil, oil chalk, and graphite on drypoint print on paper, 59 × 59 cm Part III: Oil, oil chalk, and graphite on paper, 76 × 57 cm Part IV: Oil, oil chalk, and graphite on paper, 132.5 × 150 cm Part V: Oil, oil chalk, and graphite on offset printing paper, 70 × 48,5 cm Part VI: Oil, oil chalk, and graphite on offset printing paper, 70 × 48.5 cm Part VII: Oil, oil chalk, and graphite on paper, 65.5 × 50 cm Centre national des arts plastiques, Donation Yvon Lambert à l’État français, on deposit at the Collection Lambert en Avignon
148
Cat. 115
Cat. 116
Quattro Stagioni: Autunno, 1993–95 Acrylic, oil, colored pencil, and graphite on canvas 313.6 × 215 cm Tate, London
Quattro Stagioni: Inverno, 1993–95 Acrylic, oil, and graphite on canvas 313.5 × 221 cm Tate, London
168
169
Cat. 115
Cat. 116
Quattro Stagioni: Autunno, 1993–95 Acrylic, oil, colored pencil, and graphite on canvas 313.6 × 215 cm Tate, London
Quattro Stagioni: Inverno, 1993–95 Acrylic, oil, and graphite on canvas 313.5 × 221 cm Tate, London
168
169
Cat. 130
Cat. 131
Untitled (A Gathering of Time), 2003 Acrylic on canvas 213.4 × 269.2 cm Private collection, courtesy Gagosian Gallery
Untitled (A Gathering of Time), 2003 Acrylic on canvas 215.3 × 265.4 cm Museum Glenstone, Potomac
194
195
Cat. 130
Cat. 131
Untitled (A Gathering of Time), 2003 Acrylic on canvas 213.4 × 269.2 cm Private collection, courtesy Gagosian Gallery
Untitled (A Gathering of Time), 2003 Acrylic on canvas 215.3 × 265.4 cm Museum Glenstone, Potomac
194
195
Cat. 173
Blooming, 2001–08 Acrylic and crayon on ten wood panels 250 × 500 cm Private collection
242
Cat. 173
Blooming, 2001–08 Acrylic and crayon on ten wood panels 250 × 500 cm Private collection
242
Fig. 1
A sculpture by Cy Twombly (Thermopylae, 1991) in the home of Udo and Anette Brandhorst, Cologne, 2008 Photo: Lorenz Berges
Cy Twombly in Focus: The Private Collection of Udo and Anette Brandhorst BER ND K LÜSER
For Anette Brandhorst
Apart from the worryingly increasing number of speculators, art collectors today include swimmers against the stream, safety-minded buyers (usually accompanied by several advisors at fairs), and couples who share a passion. The last-named are just as prone to mutual hindrance as to recipro cal motivation and encouragement. Ongoing dialogue can help them avoid rash acquisitions, and a love of art may well prove a binding factor in their relationship. In the case of that of Anette and Udo Brandhorst, their first acquisition in 1971 represented a milestone. They were not yet living together at the time, because she was still married to her first husband and studying ethnology in Boston, and he was working in Hamburg. Meeting in New York, they went to museums and galleries, and in the end purchased a large-format collage by Joan Miró. In late 1972 they moved into their first shared apartment in Cologne, where Udo Brandhorst had joined the board of an insurance company. Works by classical modern artists such as Jean Arp and Kurt Schwitters, plus a series of Kasimir Malevich drawings, expanded the collection. Then, around mid-decade, the Brandhorsts’ interest turned to contemporary developments.
252
253
This turn was largely due to the city of Cologne, which since the 1960s had become a European condensation point for current art. This included numerous museums and art associations in the Rhineland and nearby Holland, which despite limited budgets mounted outstanding exhibitions of avant-garde art; the first Art Cologne fair in 1967; the standard-setting Ludwig Collection at the Wallraf-Richartz Museum, Cologne (from 1969); and the presence of leading German galleries, including Friedrich, Zwirner, and Greve in Cologne, and Schmela and Fischer in nearby Düsseldorf, where Joseph Beuys taught at the academy and artists like Gerhard Richter, Sigmar Polke, and Blinky Palermo dominated the scene. Further impulses came from the private collections then being formed, whose protagonists inspired each other. Still, all of these people amounted only to a small, elite circle of well-informed, educated, and courageous actors, on whose activities the general public tended to look askance. It was in this stimulating environment that the Brand horsts caught the collecting bug, prompting them to amass a unique and significant collection over the folloing decades. The spectrum was far-ranging, encompassing along with Twombly a personal yet exemplary selection of European and
Fig. 1
A sculpture by Cy Twombly (Thermopylae, 1991) in the home of Udo and Anette Brandhorst, Cologne, 2008 Photo: Lorenz Berges
Cy Twombly in Focus: The Private Collection of Udo and Anette Brandhorst BER ND K LÜSER
For Anette Brandhorst
Apart from the worryingly increasing number of speculators, art collectors today include swimmers against the stream, safety-minded buyers (usually accompanied by several advisors at fairs), and couples who share a passion. The last-named are just as prone to mutual hindrance as to recipro cal motivation and encouragement. Ongoing dialogue can help them avoid rash acquisitions, and a love of art may well prove a binding factor in their relationship. In the case of that of Anette and Udo Brandhorst, their first acquisition in 1971 represented a milestone. They were not yet living together at the time, because she was still married to her first husband and studying ethnology in Boston, and he was working in Hamburg. Meeting in New York, they went to museums and galleries, and in the end purchased a large-format collage by Joan Miró. In late 1972 they moved into their first shared apartment in Cologne, where Udo Brandhorst had joined the board of an insurance company. Works by classical modern artists such as Jean Arp and Kurt Schwitters, plus a series of Kasimir Malevich drawings, expanded the collection. Then, around mid-decade, the Brandhorsts’ interest turned to contemporary developments.
252
253
This turn was largely due to the city of Cologne, which since the 1960s had become a European condensation point for current art. This included numerous museums and art associations in the Rhineland and nearby Holland, which despite limited budgets mounted outstanding exhibitions of avant-garde art; the first Art Cologne fair in 1967; the standard-setting Ludwig Collection at the Wallraf-Richartz Museum, Cologne (from 1969); and the presence of leading German galleries, including Friedrich, Zwirner, and Greve in Cologne, and Schmela and Fischer in nearby Düsseldorf, where Joseph Beuys taught at the academy and artists like Gerhard Richter, Sigmar Polke, and Blinky Palermo dominated the scene. Further impulses came from the private collections then being formed, whose protagonists inspired each other. Still, all of these people amounted only to a small, elite circle of well-informed, educated, and courageous actors, on whose activities the general public tended to look askance. It was in this stimulating environment that the Brand horsts caught the collecting bug, prompting them to amass a unique and significant collection over the folloing decades. The spectrum was far-ranging, encompassing along with Twombly a personal yet exemplary selection of European and
Cy Twombly and Dominique de Menil at the opening of the Cy Twombly Gallery at the Menil Collection, Houston, February 10, 1995 Photo: Hickey-Robertson
Cy Twombly, 1994 In the front: Untitled (Funerary Box for a Lime Green Python), 1951; in the back: Victoire, 1987 and Untitled (Bassano in Teverina), 1980 Photo: Bruce Weber
Cy Twombly visiting Japan to receive the prize Praemium Imperiale, 1996 Photo: Nicola Del Roscio
1995 Untitled (Say Goodbye Catullus, to the Shores of Asia Minor) is shown at the Museum of Fine Arts, Houston. Twombly travels to Houston in February for the opening of the second venue of the Museum of Modern Art retrospective and for the inauguration of the Cy Twombly Gallery, a museum founded by the Menil family, sponsored by Philippa and Heiner Friedrich and curated by Paul Winkler. Renzo Piano designs the museum based on plans made together with the artist. The museum is a per manent installation of paintings, sculptures, and works on paper from 1954 to the present. At the same time, a show of photographs by Twombly and a drawing show are held at two different galleries in Houston. Twombly spends the spring in Lexington and the summer in Gaeta, where he gives the last touch to the second version of the set of Quattro Stagioni without changing the date of execution. He receives the Kaiserring award from the city of Goslar, Germany. Twombly travels to Berlin in August for the last venue of his retrospective, visits Saint Petersburg, and then returns to Italy.
296
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1996 After spending the winter in Lexington, he travels to Paris in June. In the summer in Gaeta he works on sculptures and three sets of monoprints, portraying, for the first time, motifs influenced by the Battle of Lepanto, which are shown in December in New York at the Whitney Museum of American Art. In May Twombly is included in the exhibition L’informe: Mode d’emploi, organized by Yve-Alain Bois and Rosalind Krauss, at Centre Pompidou, Paris, which is structured around the theories of Georges Bataille. In the same month, Cy Twombly: Photographs opens at the Gagosian Gallery, Los Angeles. He travels to Japan in October to receive the Praemium Imperiale. He spends the winter in Lexington and on Saint Barthélemy in the Caribbean. 1997 Spends the winter months in Saint Barthélemy, spring in Lexington and the summer in Gaeta. A one-person exhibition opens at Galerie Karsten Greve, Cologne. In November his first one-person sculpture exhibition in the United States, Cy Twombly: Ten Sculptures, opens at the Gagosian Gallery, New York, on the occasion of the publication of the Catalogue Raisonné of Sculpture by Nicola Del Roscio. 1998 The artist spends the winter in Lexington, where he concentrates on sculpture. In May he exhibits eight sculptures at the American Academy in Rome.
Cy Twombly and Dominique de Menil at the opening of the Cy Twombly Gallery at the Menil Collection, Houston, February 10, 1995 Photo: Hickey-Robertson
Cy Twombly, 1994 In the front: Untitled (Funerary Box for a Lime Green Python), 1951; in the back: Victoire, 1987 and Untitled (Bassano in Teverina), 1980 Photo: Bruce Weber
Cy Twombly visiting Japan to receive the prize Praemium Imperiale, 1996 Photo: Nicola Del Roscio
1995 Untitled (Say Goodbye Catullus, to the Shores of Asia Minor) is shown at the Museum of Fine Arts, Houston. Twombly travels to Houston in February for the opening of the second venue of the Museum of Modern Art retrospective and for the inauguration of the Cy Twombly Gallery, a museum founded by the Menil family, sponsored by Philippa and Heiner Friedrich and curated by Paul Winkler. Renzo Piano designs the museum based on plans made together with the artist. The museum is a per manent installation of paintings, sculptures, and works on paper from 1954 to the present. At the same time, a show of photographs by Twombly and a drawing show are held at two different galleries in Houston. Twombly spends the spring in Lexington and the summer in Gaeta, where he gives the last touch to the second version of the set of Quattro Stagioni without changing the date of execution. He receives the Kaiserring award from the city of Goslar, Germany. Twombly travels to Berlin in August for the last venue of his retrospective, visits Saint Petersburg, and then returns to Italy.
296
297
1996 After spending the winter in Lexington, he travels to Paris in June. In the summer in Gaeta he works on sculptures and three sets of monoprints, portraying, for the first time, motifs influenced by the Battle of Lepanto, which are shown in December in New York at the Whitney Museum of American Art. In May Twombly is included in the exhibition L’informe: Mode d’emploi, organized by Yve-Alain Bois and Rosalind Krauss, at Centre Pompidou, Paris, which is structured around the theories of Georges Bataille. In the same month, Cy Twombly: Photographs opens at the Gagosian Gallery, Los Angeles. He travels to Japan in October to receive the Praemium Imperiale. He spends the winter in Lexington and on Saint Barthélemy in the Caribbean. 1997 Spends the winter months in Saint Barthélemy, spring in Lexington and the summer in Gaeta. A one-person exhibition opens at Galerie Karsten Greve, Cologne. In November his first one-person sculpture exhibition in the United States, Cy Twombly: Ten Sculptures, opens at the Gagosian Gallery, New York, on the occasion of the publication of the Catalogue Raisonné of Sculpture by Nicola Del Roscio. 1998 The artist spends the winter in Lexington, where he concentrates on sculpture. In May he exhibits eight sculptures at the American Academy in Rome.
Photo Credits © Archives Alinari, Florence, Dist. RMN-Grand Palais: [photo Nicola Lorusso] p. 112 (fig. 1). © Archives and Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries: [photo Murray and Rosa Morgan] p. 24 (fig. 1); p. 27 (fig. 3). © Robert Bayer, Bildpunkt AG, Munchenstein: pp. 34, 46, 72, 144, 145, 160, 161. © Bayerische Staatsgemäldesammlungen, Munich: p. 256 (fig. 4). © Laurenz Berges: p. 252 (fig. 1). © Bibliothèque Kandinsky, Centre Pompidou, Paris: pp. 83 (figs. 3 and 4), 246 (fig. 3), 264 top left, 266, 282 top left, 286 bottom right. © Boston Public Library, Lexington: p. 56 (fig. 4). © BPK, Berlin, Dist. RMN-Grand-Palais: front cover; [photo Jochen Littkemann] pp. 48, 70 –71, 73; [photo Walter Klein] p. 63; [image BStGS], inside jacket, pp. 6–7 (portfolio detail), 114 (figs. 4 and 5), 143, 152–53, 165, 190 (fig. 6), 192, 193, 196–97, 198–99, 200 – 01, 259 (detail); [photo Jörg P. Anders] p. 255 (fig. 3). © Centre Pompidou, MNAM-CCI/Dist. RMN-GP: [photo Philippe Migeat] p. 107. © Condé Nast: [photo Horst P. Horst], p. 21 (fig. 3). Courtesy Castelli Gallery, New York: [photo Rudy Burckhardt] p. 80 (fig. 2). Courtesy Cheim & Read: pp. 4–5 (portfolio detail), 135. Courtesy Collection Lambert in Avignon: pp. 148–49; [photo Barbara Blanc] p. 246 (fig. 2). Courtesy Gagosian Gallery: reverse of jacket, pp. 238, 242–43. Courtesy Galerie Karsten Greve, St. Moritz, Paris, Cologne: [photo Peter Schälchli, Zurich], p. 49; p. 51; [photo Saša Fuis, Cologne] p. 62; [photo Jochen Littkemann, Berlin] p. 139. Courtesy Sperone Westwater Gallery, New York: p. 294 center. © Courtesy Philadelphia Museum of Art, Philadelphia: pp. 113 (fig. 3), 115–25. © Courtesy Robert Rauschenberg Foundation: [photo Robert Rauschenberg], pp. 18 (fig. 1), 26 (fig. 2), 28 (fig. 3), 98 (fig. 1), 232 (fig. 1), 234 (fig. 2), 262. © Courtesy Udo Brandhorst: p. 257 (fig. 5). © 2017. Digital image, The Museum of Modern Art, New York/Scala, Florence: p. 47. © FMGB Guggenheim Bilbao Museoa, 2017: pp. 90 –91; [photo Erika Ede] pp. 93–97. © Fondazione Nicola Del Roscio, courtesy Archives Nicola Del Roscio: [photo Cy Twombly], p. 20 (fig. 2); [Photo Plinio De Martiis, Archivio di Stato di Latina and AsLt, Galleria La Tartaruga, b. 83 fasc. 178] p. 22 (fig. 5); pp. 32, 33, 36, 37, 38, 39, 50, 76, 188 (figs. 3 and 4), 202–09, 236 (fig. 5), 264 bottom right, 265 right top and bottom, 267 bottom; © Akademie der Künste [photo Werner Schloske] p. 79 (fig. 1); p. 247 (fig. 4); [Luisa Tatiana Twombly] p. 265 left; [photo Philip Reidford] p. 267 top; [photo Erich Marx] p. 280; [photo Nicola Del Roscio] pp. 281, 290, 291 bottom, 293 bottom right, 294 top left, 295, 297 top, 298, 299 top right, 299 bottom, 300 bottom right; [photo Yvon Lambert] p. 282 bottom left; [photo Ugo Ferranti] p. 282 right; [photo Heiner Bastian] p. 286 top left; [photo Salvatore Di Cosmo] pp. 291 top, 293 top right; [Bruce Weber] pp. 12, 296; [photo Viorel Grasu] p. 300 top right; [photo Michaela Langenstein] p. 301. © Galerie Pièce unique, Paris: [photo Konstantinos Ignatiadis] p. 294 bottom. © Glenstone Museum, Potomac: [photo Ron Amstutz] p. 195. © Kunsthaus Zürich, Zurich: pp. 106, 215, 219, 223, 224. © Kunstmuseum Basel und Museum für Gegenwartskunst, Basel: [photo Martin P. Bühler] p. 142. © Christian Leiber, Opéra national de Paris: p. 292. © Sally Mann: pp. 23 (fig. 5), 52 (fig. 1), 55 (fig. 3), 170 (fig. 1), 172 (fig. 2), 302. © André Morain: pp. 244 (fig. 1), 248 (fig. 5), 249 (fig. 6). © Wolfgang Morell, p. 254. © Camilla Nasbitt Collection: [photo Cy Twombly] p. 89. © National Gallery of Ireland: p. 103 (fig. 4). © Öffentliche Kunstsammlung Basel: [photo Martin P. Bühler] p. 140. © Pinault Collection: pp. 174–75; [photo Robert Mc Keever] pp. 176–77, 179–85. © Poetry Collection of the University Libraries, University at Buffalo, The State University of New York: [photo Jonathan Williams] p. 261. © Rheinisches Bildarchiv, Cologne: pp. 101, 136–37. © Sammlung Lambrecht-Schadebert / Rubenspreisträger der Stadt Siegen im Museum für Gegenwartskunst, Siegen: p. 134. © Statens Museum for Kunst, Copenhagen / Bridgeman Library: p. 190 (fig. 5). © Tate, London, 2017: pp. 166, 167, 168, 169. © Alastair Thain: pp. 186 (fig. 1), 235 (fig. 3). © The Menil Collection, Houston: [photo Hickey-Robertson, Houston], p. 35; courtesy Menil Archives [photo Paul Hester]: p. 54 (fig. 2); p. 236 (fig. 6); [photo Hickey-Robertson, Houston] p. 297 bottom. © Cy Twombly Foundation, courtesy Archives Nicola Del Roscio: pp. 2–3 (portfolio detail), 29 (fig. 5), 30, 31, 41, 59, 60, 61, 75, 126 (fig. 1), 128 (fig. 2), 129 (fig. 3), 131, 132–133, 141, 150, 157, 158, 159, 178, 189, 239, 240, 241, 283, 284; [photo Giorgio Benni] pp. 42, 43, 44, 45, 64, 65, 66, 67, 68, 154–55; [photo Steven Sloman, New York © 1994] p. 57 (fig. 5); [photo Mimmo Capone] pp. 69, 146, 147, 151, 162, 163; [photo Mauro Coen] p. 100 (fig. 2); courtesy Gagosian Gallery [photo Rob McKeever] pp. 108–09, 194; © International Center of Photography, David Seidner Archive, p. 110 and back cover; [photo Jochen Littkemann] p. 188 (fig. 2); courtesy Fondazione Nicola Del Roscio [photo Mimmo Capone] pp. 211, 212, 213, 216, 217, 218, 220, 221, 225; courtesy Udo and Anette Brandhorst Collection [photo Jochen Littkemann] pp. 226, 227, 228, 229, 230, 231; courtesy The Menil Collection, Houston p. 235 (fig. 4).