Cy Twombly's "Camino Real" series, created in 2010 and showcased as part of the inauguration of the Gagosian's new Paris gallery in 2010, presents a captivating intersection of visual art and literary inspiration. This series, consisting of five paintings, exhibits Twombly's characteristic exuberant painterly gestures and a vivid color palette. The title and thematic inspiration of the series come from Tennessee Williams' 1948 play "Camino Real." This play, known for its dream-like, surreal quality and its assembly of characters from both history and fiction—such as Don Quixote, Lord Byron, and Casanova—reflects a romantic and adventurous take on life. These characters embody the spirit of "old knights, dreamers, and troublemakers," a theme that resonates through Twombly's dynamic and colorful compositions (Gagosian).
The series stands as a testament to Twombly's enduring vitality and his ability to work with freedom, unbound by any singular interpretative framework. His paintings in this collection continue the exploration of themes and aesthetics seen in his earlier works, such as the "rose" and "peony" series, while also contrasting with the more austere patinated bronze sculptures displayed alongside them in the exhibition. A catalogue featuring an essay by Marie-Laure Bernadac accompanies the exhibition, providing further insights into the works and their conceptual underpinnings (Gagosian).
Following its debut in Paris, the "Camino Real" series was included in Twombly's last exhibition before his death in 2011, showcased across several Gagosian locations, including New York. The eight untitled paintings from this period are characterized by their robust, intense colors and expressive paintwork. These works, alongside a selection of Twombly's photographs, capture the essence of his artistic journey, showcasing his versatility and depth as an artist. The photographs range from early studio shots to landscapes captured in 2011, offering a rare glimpse into the more intimate dimensions of Twombly's creative world. The exhibition and its accompanying fully illustrated catalogue, featuring essays and a photo essay by Sally Mann, underscore Twombly's significant impact on contemporary art (Gagosian).
Ed Schad's essay on the "Camino Real" series highlights the deep, conceptual dialogue between Twombly's work and Williams' play. The metaphorical setting of Williams' "Camino Real"—a gate that separates the known from an unknown wasteland—mirrors Twombly's own exploration of cultural and existential boundaries. Schad poignantly interprets Twombly's engagement with "Camino Real" as a reflection of the artist's lifelong journey through the landscapes of Western culture and his confrontation with the unknown. This intertextual relationship enriches our understanding of Twombly's final works, imbuing them with a sense of existential inquiry and a courageous embrace of the unknown (Painters' Table).
Twombly's "Camino Real" series represents a multifaceted dialogue between art and literature, characterized by vibrant expression and a contemplative engagement with themes of journey, history, and the human condition. It's a fitting tribute to an artist whose work continually defied easy categorization, inviting viewers to explore the depths of both his creative vision and the cultural narratives that inspired him.