Cy Twombly's Lepanto series, created in 2001, represents a monumental work that dives deep into the annals of history to bring forth a narrative both visually arresting and laden with symbolism. Commissioned for the Venice Biennale's Plateau of Humankind exhibition, the series is Twombly's reflection on a pivotal moment at the cusp of two centuries, offering a melancholic farewell to modernity through the lens of the past (Museo del Prado).
The Lepanto cycle consists of twelve large canvases that depict the 16th-century naval battle between the Ottoman Empire and the Christian coalition known as the "Holy League." This battle, historically significant for halting Turkish expansion into the Mediterranean, has been a subject of fascination for artists for centuries, including Titian, Tintoretto, and Veronese. Twombly's interest in the Battle of Lepanto was piqued by tapestries based on Luca Cambiaso's paintings, which he saw in Spain. His series not only revisits this historical event but also places him within a grand tradition of narrative cycles that capture the epic scope of battles (Museo del Prado).
The first canvas of the series begins with a tranquil morning scene over the sea, painted in soft shades of blue, where shapes resembling ships appear, setting the stage for the unfolding drama. As the series progresses, the introduction of more vivid and chaotic colors reflects the intensity and bloodshed of the battle. Red hues, symbolizing blood, become more pronounced, culminating in a portrayal of the aftermath of war—a silent, yet not peaceful, resolution. Twombly's work is noted for its abstract representation, where the ships and scenes of battle bear a childlike simplicity, adding a layer of raw emotion and immediacy to the historical narrative (Simply Munich).
What stands out in the Lepanto series is Twombly's ability to weave together various thematic strands. The paintings explore themes of historical memory, the passage of time, and the cyclical nature of conflict. Twombly, who had a longstanding fascination with maritime history and the classical world, often incorporated ships as motifs in his work, symbolizing journeys, farewells, and the transition to the afterlife. The Lepanto series, in particular, reflects this preoccupation with seafaring as a metaphor for life itself. The battle serves as a backdrop for a broader contemplation on human endeavor, loss, and the transcendence of art over time (Simply Munich).
The series was met with critical acclaim, offering viewers a panoramic experience of war on a grand scale. Richard Howard, in the exhibition catalogue, remarked on the series' "luminous intensity" and its presentation as a personal meditation on tragedy, allowing viewers to stand amidst the tumult of battle and witness the fiery destruction of the Turkish fleet (Gagosian).
Today, the Lepanto series is housed in the Museum Brandhorst in Munich, continuing to captivate visitors with its powerful visual narrative and deep, reflective qualities. Through this series, Twombly not only pays homage to a significant historical event but also cements his legacy within the tradition of great colorists, from Veronese to the modern era, exploring the interplay of color, light, and memory (Simply Munich).