Cy Twombly's Ferragosto series, created in 1961, stands as a monumental embodiment of the artist's exploration into the depths of painting's history, temporality, and expressive capabilities. The series, consisting of five canvases, was executed during the height of summer, specifically around the time of the Ferragosto holiday on August 15th, a period that holds historical layers of transition from pagan to Christian traditions. This timing and its implications resonate deeply with the thematic and stylistic elements Twombly navigates through the series.
Twombly's work during the early 1960s, especially after permanently settling in Italy in 1957, is marked by an exceptionally fertile and explorative phase, with the Ferragosto series exemplifying his tactile, carnal approach to painting. The series is noted for its engagement with classical literature and history, evident in Twombly's allusions and references, yet it is distinctly characterized by its abstract expressionism. Through the series, Twombly engages in a dialogue with the historical concept of painting, notably reacting to and unraveling the abstract expressionist gestural 'drip' popularized by Jackson Pollock in the 1950s (DocsLib) (Centre Pompidou).
A defining feature of the Ferragosto series is its tactile quality and baroque-like grandeur. For instance, Ferragosto IV is distinguished by its large, formless gestures that evoke the impression of seeping, almost melting, off the canvas, with colors that mimic flesh itself. This effect not only captures the temporal decay associated with the baroque but also Twombly's nuanced consideration of the hand's role in painting, echoing early Flemish painting's symbolic use of directionality to signify oppositions such as past versus future, and the old law versus the new (DocsLib).
Twombly's Ferragosto series transcends mere visual representation to become a deeply historical and temporal engagement. It situates itself within a broad conversation about art's history, challenging traditional notions of history painting by unraveling mythical narratives and heroics. Through a combination of formless gestures, inscriptions, and titles, Twombly's works in this series embody a temporal suspension, embodying both a nod to the grandeur of historical painting and a critical departure from its heroic pretenses. This dual engagement with history and temporality is critical to understanding Twombly's approach, as it reflects a broader contemplation of painting's ability to capture and convey the complexities of human experience and memory (DocsLib).
In summary, Cy Twombly's Ferragosto series emerges as a profound exploration of painting's expressive range, engaging with themes of history, temporality, and the tactile essence of artistic creation. Through this series, Twombly not only dialogues with the past but also presents a complex, layered reflection on the nature of art itself, positioning the series as a pivotal work within his oeuvre and the broader landscape of contemporary painting (Guggenheim Bilbao) (DocsLib).