Reading Poetry in paint 2016, Mary Jacobus, I am re-energized with the beautiful scrawling and what appears to be the ever so delicately mark of Twombly on his canvases. His writings and the interpretation of how they evoke into artwork. Quoted in this chapter (p.79) “paint, not the object, but the effect it produces….” discussed is Twombly’s intention to paint not the poetry, but the effect it produces. This way of working a drawing a painting a sculpture is how I endeavor to express my own feelings through art. Barthes says of Twombly “line was inimitable because the most fundamentally inimitable thing of all is the body” (p.80) Barthes is also cited as saying to him Twombly uses the paint like Jete ; of something having been thrown- as if he imagines not only the elegance of the long supple throw of a baseball player but of a dancer’s leap. I see a correlation with the dancer’s leap, yet struggle to see a throw of paint to the canvas. (p97) Barthes describes of Twombly’s letters and words on the canvas as “the irreducible residue of the body-in-writing, its distance from the speaking voice, its refusal of power and violence, and its resistance to psychoanalytic interpretation.” here he is talking of Twombly’s paintings Letter of Resignation,xxv11 1967. These words certainly give meaning to the work yet again I see this painting more like the free-flowing blurring of words through the erasure the attempted rubbing out, starting again, the words un-readable create a flowing motion on the canvas. Jacobus draws the connection with Twombly studies of Leonardo da Vinci, A Deluge, ca. 1517-18 drawing, here the picture is full of a storm, waves and wind seem to encompass the entire work, there is much unrest, and this parallels with Letter of Resignation,xxv11 1967.
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