In the 1970s, Cy Twombly's art continued to evolve, reflecting a deep engagement with themes of classical antiquity, expressed through his distinctive abstract style. During this period, Twombly was inspired by ideas of handwriting and mark-making, which led to the creation of works reminiscent of blackboards covered in chalk writing. This was a theme he explored from 1966 to 1972, exemplified by a significant work from 1970 housed at the Museum of Modern Art in New York. This piece, among the largest of its kind, features continuous loops and scrawls that, while inspired by handwriting drills, do not form specific words. The background painted in luminous grey suggests an enlightened state of mind, as if summoning the "logos" or word in a quest to name and understand things. Twombly cited Leonardo da Vinci's notebook drawings, with their structured diagrams and depictions of tumultuous floods, as influences for these works, highlighting the importance of the drawing process itself​ (The Art Story)​. Twombly's relocation to Rome in the late 1950s continued to have a profound impact on his work into the 1970s. The city's historical depth, coupled with its contemporary complexities, offered a rich source of inspiration. Twombly’s paintings from this era, such as "Ides of March" (1962), delve into monumental events from Italian and Roman history, blending the grandeur of the ancient world with the realities of modern life. His work from the early 1960s, marked by a return to color, shows a departure from the predominantly monochromatic themes of his earlier periods. The dark palette of tones like black, brown, red, and maroon, accented with touches of green and yellow in "Ides of March," demonstrates Twombly's innovative use of color and texture, which he achieved through various applications of paint and pencil​ (www.wikiart.org)​. In addition to these thematic explorations, the 1970s were also significant for Twombly's engagement with the natural world and a series of works that reflected a more immediate and sensual engagement with his environment. This was a period where Twombly's art maintained its connection to classical themes while becoming more abstract and expressionistic, displaying a mature style that defied easy categorization. Despite the challenges in categorizing Twombly's work due to its unique blend of abstraction, figuration, and inscription, his output in the 1970s stands as a testament to his innovative approach to painting. His works from this period are celebrated for their lyrical beauty, emotional depth, and intellectual complexity, making Twombly a critical figure in the history of post-war art.