Cy Twombly, ‘Triumph of Galatea’, Christie's

Cy Twombly (1928-2011)

Triumph of Galatea

signed, titled and inscribed 'Triumph of Galatea Cy Twombly (Rome)' (upper left)

graphite and wax crayon on paper

11 x 14 in. (27.9 x 35.5 cm.)

Executed in 1961.

Signature: signed, titled and inscribed 'Triumph of Galatea Cy Twombly (Rome)' (upper left)

Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980.

Boston, Museum of Fine Arts, 10 Painters and Sculptor Draw, 1984, no. 52.

Princeton University, The Art Museum; The University of Texas at Austin, Archer M. Huntington Art Gallery and Minneapolis, The Walker Art Center, Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s, February 1985-March 1986, pp. 95 and 111, no. 68 (illustrated).

New York, Pace Wildenstein, Drawings of the 60's, December 1994-January 1995.

London and New York, Eykyn Maclean, Cy Twombly Works from the Sonnabend Collection, February-May 2012, p. 21, no. 5 (illustrated).

N. Del Roscio, _Cy Twombly Drawings: Cat. Rais. Vol. 3 1961-_1963, New York, 2013, p. 49, no. 46 (illustrated in color).

The Estate of Ileana Sonnabend, acquired directly from the artist

By descent from the above to the present owner

About Cy Twombly

Cy Twombly emerged in the 1950s, developing a characteristic painting style of expressive drips and active, scribbled, and scratched lines. “My line is childlike but not childish,” he once said. “It is very difficult to fake…to get that quality you need to project yourself into the child's line. It has to be felt.” Early influences included Willem de Kooning, Franz Kline, Jackson Pollock, and Robert Motherwell, but more formative would be his relationships with Robert Rauschenberg and Jasper Johns, along with whom he would distance himself from the dominance of Abstract Expressionism. Twombly's work also appeared in one of the first exhibitions to explore ideas of Minimalism—“Black, White, and Grey” (1964)—along with Agnes Martin, Frank Stella, and Andy Warhol. In addition to his paintings, which were sometimes dismissed as "high-art graffiti," he produced sculptures assembled from found objects, clay, and plaster, painted white to suggest an affinity to Classicism.

American, 1928-2011, Lexington, Virginia, based in New York and Rome