Interest in the mural form was widespread among the Abstract Expressionists, who often worked on a scale far larger than that of most easel paintings. Twombly, a member of a younger generation, transposed that interest in the wall to a different register: no painter of his time more consistently invited association with the language of grafﬁti. His scrawled calligraphic markings may recall the automatic writing of Surrealism, another inheritance passed on to him through Abstract Expressionism, but they also evoke the scratches and scribbles on the ancient walls of Rome (his home beginning in 1957).
Rome supplied another touchstone for Twombly, who was fascinated by classical antiquity. Here he referred to the Roman myth in which Jupiter, lord of the gods, took the shape of a swan in order to ravish the beautiful Leda. (This violation ultimately led to the Trojan War, fought over Leda’s daughter Helen.) Twombly’s version of this old art-historical theme supplies no contrasts of feathers and ﬂesh but an orgiastic fusion and confusion of energies within furiously thrashing overlays of crayon, pencil, and ruddy paint. A few recognizable signs—hearts, a phallus—ﬂy out from this explosion.
Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)
Rome, Twombly’s home since the 1950s, has nurtured his fascination with classical antiquity. In this work he refers to the Roman myth in which Jupiter, lord of the gods, takes the shape of a swan in order to ravish Leda, the beautiful mother of Helen (over whom the Trojan war would be fought). Twombly’s version of this old art-historical theme supplies no contrast of feathers and flesh but a fusion of violent energies in furiously thrashing overlays of crayon, pencil, and ruddy paint. A few recognizable signs—hearts, a phallus—fly out from this explosion, in stark contrast to the sober windowlike rectangle near the top of the painting.
Gallery label from 2007.