Cy Twombly's "Nine Discourses on Commodus" (1963) is a series that marks a pivotal moment in the artist's career, characterized by a deep engagement with historical themes amidst a backdrop of personal and global turmoil. Created in the early 1960s, a period fraught with political tension and upheaval—marked notably by events such as the Cuban Missile Crisis and the assassination of President John F. Kennedy—the series reflects Twombly's grappling with themes of power, madness, and decay through the historical figure of Commodus, the Roman emperor known for his tyrannical reign and eventual assassination.

This work stands out in Twombly's oeuvre not only for its somber tone but also for its direct engagement with historical narrative, a departure from the abstract expressionism that predominated his earlier works. "Nine Discourses on Commodus" consists of nine paintings, each employing Twombly's signature techniques of scribbles, scratches, and frenetic lines, but with a newfound depth and darkness that seems to mirror the chaotic and uncertain times in which they were created. The paintings are characterized by their abstract depiction of conflict and tension, featuring swirling masses that range from serene, cloud-like forms to visceral representations of wounds, culminating in a chaotic and fiery climax. The use of a gray backdrop across the series serves as a stark canvas, against which the tumult of Commodus's rule and demise is depicted through violent bursts of color and form​ (Guggenheim Bilbao)​​ (Guggenheim Bilbao)​.

Despite their aesthetic and thematic depth, the "Nine Discourses on Commodus" were initially met with harsh criticism upon their exhibition at the Leo Castelli Gallery in New York in 1964. The abstract and esoteric nature of the series, combined with Twombly's physical absence from the American art scene (having moved permanently to Rome in 1957), contributed to its initial dismissal by critics and audiences who were then more attuned to the sensibilities of Pop art and Minimalism. Misunderstandings were further compounded by the series being displayed out of order, obscuring the narrative sequence that was crucial to its comprehension. This initial reception marked a challenging period in Twombly's career, leading to a temporary decline in his artistic output​ (Guggenheim Bilbao)​.

Over time, however, "Nine Discourses on Commodus" has been reevaluated and now occupies a central position in Twombly's body of work and in the broader context of post-war painting. Distanced from the controversies and artistic rivalries of the 1960s, the series is recognized for its unique blend of historical narrative with abstract expressionism, demonstrating Twombly's mastery in conveying profound emotion and complexity through his distinctive mark-making and compositional strategies​ (Guggenheim Bilbao)​.