Menu

Cy Twombly

Lepanto

January 19–February 23, 2002
555 West 24th Street, New York

Installation view © Cy Twombly Foundation

Installation view

© Cy Twombly Foundation

Installation view © Cy Twombly Foundation

Installation view

© Cy Twombly Foundation

Works Exhibited

Cy Twombly, Lepanto (Part II), 2001 Acrylic, wax crayon, and pencil on canvas, 85 ½ × 123 inches (217.2 × 312.4 cm)© Cy Twombly Foundation

Cy Twombly, Lepanto (Part II), 2001

Acrylic, wax crayon, and pencil on canvas, 85 ½ × 123 inches (217.2 × 312.4 cm)
© Cy Twombly Foundation

Cy Twombly, Lepanto (Part IV), 2001 Acrylic, wax crayon, and graphite on canvas, 85 ¼ × 122 ¾ inches (216.5 × 311.8 cm)© Cy Twombly Foundation

Cy Twombly, Lepanto (Part IV), 2001

Acrylic, wax crayon, and graphite on canvas, 85 ¼ × 122 ¾ inches (216.5 × 311.8 cm)
© Cy Twombly Foundation

Cy Twombly, Lepanto (Part VII), 2001 Acrylic and wax crayon on canvas, 85 ¼ × 134 inches (216.5 × 340.4 cm)© Cy Twombly Foundation

Cy Twombly, Lepanto (Part VII), 2001

Acrylic and wax crayon on canvas, 85 ¼ × 134 inches (216.5 × 340.4 cm)
© Cy Twombly Foundation

About

Gagosian is pleased to present an exhibition of paintings by Cy Twombly. Lepanto, a painting in twelve parts, was first exhibited at the 49th Biennale di Venezia in the summer of 2001.

This suite of paintings depicts the famous sixteenth-century sea battle of the combined European forces under Venetian leadership against the Ottoman invasion. The glorious sequence of panels is to be absorbed as a single image, a panoramic portrayal of war on a heroic scale where the viewer stands in the midst of the battle through to the destruction by fire of the Turkish fleet.

Richard Howard writes in the exhibition catalogue:

As grim and sometimes uproarious as the panels are, their cumulative effect, as we move among them, or step back to take in the whole sequence as a single image, is one of luminous intensity. We witness historical evidence through a personal meditation on tragedy. Certainly Lepanto is an accounting, but not a final summing up. We are still, with Twombly, in the thick of the fight.

A fully illustrated catalogue with essays by Richard Howard and Kirk Varnedoe will accompany the exhibition.

River Café menu with illustration by Ed Ruscha.

The River Café Cookbook

London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Glenstone Museum.

Intimate Grandeur: Glenstone Museum

Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.

Cy Twombly: In Beauty it is finished

Cy Twombly: In Beauty it is finished

Mark Francis, director of the exhibition Cy Twombly: In Beauty it is finished, Drawings 1951–2008, describes the impetus for this expansive presentation, the source for its title, and details the stories of some of the works on view.

Cy Twombly: Coronation of Sesostris

Cy Twombly: Coronation of Sesostris

Cy Twombly’s Coronation of Sesostris (2000) receives a closer look by Gagosian Director, Mark Francis. In this video, he discusses the history of the work, the myths and poetry embedded within it, and considers its lasting impact.