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In the introduction to her recent study Reading Cy Twombly, Mary Jacobus sets her interpretation of the artist’s work against those of critics who read the names, titles and quotations in his paintings as, on the one hand, self-expressive (‘sighs, expressions of pleasure or regret’), and on the other, directed towards the creation of a repository of cultural memory. ‘As opposed to a high-humanizing reading of Twombly’s art’, she writes, ‘I want to sidestep the debate in order to recover the specifically twentieth-century avant-garde context for his practice of quotation and allusion – his anthology – by tracing its relation to American literary Modernism, and in particular, Ezra Pound’. Twombly briefly attended Black Mountain College, encountering Pound’s writings and ideas through Charles Olson, and Jacobus turns to Pound’s ABC of Reading (1934) as a particularly clarifying lens through which to read Twombly..

Examples of a few objects are presented, where the electron microprobe has proved that it can provide the conservator and the curator with information that will help in evaluating the authenticity of a particular art object. They will also obtain a better understanding of how an object was fabricated and what materials it was made from. The results of the analysis of paint samples, samples from metal artifacts, as well as specimens from marble sculptures, are described.

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Chapter 5 - The Visual Field

Summary

Part I - Pound’s Texts

A Few Examples of Electron Microanalysis of Art Objects at the Boston Museum of Fine Arts

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3 results

Chapter 5 - The Visual Field

Summary

Part I - Pound’s Texts

A Few Examples of Electron Microanalysis of Art Objects at the Boston Museum of Fine Arts