Nine Discourses on Commodus, Part IV

Cy Twombly’s Dialogue with History and Gesture

Few artists have bridged the gap between classical antiquity and modern abstraction as compellingly as Cy Twombly. In Nine Discourses on Commodus, Part IV, the American painter continues his exploration of the Roman emperor Commodus—a figure whose reign was marked by both spectacle and tyranny. This work belongs to a larger series where Twombly reinterprets historical narratives through his signature blend of scribbled lines, smudged surfaces, and fragmented text. The canvas becomes a battleground of marks, each stroke a trace of the artist’s physical engagement with the past.

The piece exemplifies Twombly’s ability to distill complex themes into raw, visceral forms. Here, the title’s reference to Commodus—a ruler infamous for his megalomania—contrasts with the work’s restrained palette and chaotic yet controlled composition. As The Museum of Modern Art observes, Twombly’s art often “oscillates between the literary and the purely visual,” and this tension is palpable in the way his lines seem to both obscure and reveal meaning. The absence of a fixed year for the work further underscores its timelessness, as if the discourse it presents could belong to any era.

Twombly’s Late-Career Synthesis of Myth and Abstraction

By the time Twombly created the Nine Discourses series, he had long established himself as a singular voice in post-war art. Unlike his earlier works, which often referenced Greek and Roman mythology through more explicit symbols, this period saw him distilling historical narratives into pure gesture. The series reflects his deep engagement with the classical world, yet it avoids literal representation. Instead, Twombly uses the physicality of paint—its drips, erasures, and accumulations—to evoke the passage of time and the fragility of power.

This approach aligns with what Tate describes as his “late-style” abstraction, where “the act of marking becomes the subject itself.” In Part IV, the sparse composition and muted tones suggest a meditation on decay and memory, themes that preoccupied Twombly in his final decades. The work’s title, with its reference to the infamous emperor Commodus, invites viewers to consider how history is both recorded and erased—a process mirrored in the artist’s own erasures and overwritten lines.

Twombly’s genius lies in his ability to make the act of painting feel like an archaeological dig—each mark a fragment of a larger, lost narrative.

The Physicality of Thought: How Twombly Built Part IV

Composition: The Choreography of Chaos

The structure of Nine Discourses on Commodus, Part IV appears almost accidental, yet it is meticulously balanced. Twombly often worked on the floor, allowing gravity to influence the flow of paint and pencil. Here, the clustering of marks in the upper-right quadrant creates a visual weight that counteracts the emptier lower-left area. This asymmetry draws the eye into a dynamic tension, as if the composition itself is in the midst of collapse or formation. The absence of a central focal point reinforces the work’s thematic concern with instability—both political and perceptual.

Surface and Materiality: The Trace of the Hand

The tactile quality of the surface is central to the work’s impact. Twombly employed a mix of oil paint, pencil, and wax crayon, each medium leaving a distinct texture. The smudged passages suggest erasure or revision, while the sharper, more deliberate lines imply moments of clarity. The limited palette—dominated by whites, grays, and muted blues—further emphasizes the physicality of the materials. As the Art Story notes, Twombly’s surfaces “record the process of their own making,” and in Part IV, this process feels particularly urgent, as though the artist is racing to capture something before it disappears.

Displaying Twombly: A Statement of Intellectual Boldness

Twombly’s work demands space—not just physically, but conceptually. Nine Discourses on Commodus, Part IV thrives in environments that allow its quiet intensity to dominate. Consider placing it in a study, library, or minimalist living area where its muted tones can contrast with deeper wall colors, such as charcoal gray, navy, or warm terracotta. The 30×40 cm (12×16") size makes it versatile enough for a statement piece above a console table or as part of a curated gallery wall, though it holds its own best when given room to breathe.

Avoid overly ornate frames or busy surroundings; the work’s power lies in its raw, unmediated presence. Pair it with modernist furniture—think Eames, Le Corbusier, or Florence Knoll—to emphasize its dialogue between antiquity and modernity. In a room with natural light, the subtle variations in the print’s surface will shift throughout the day, revealing new details in the artist’s marks.

More Works by Cy Twombly

Twombly’s oeuvre spans decades of relentless innovation, from his early graffiti-inspired canvases to his late meditations on myth and history. Each piece in this collection offers a distinct entry point into his practice.

Cy Twombly

Hero and Leandro, Part III

View print

Cy Twombly

Untitled, Part VIII

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Cy Twombly

Lepanto, Part VI

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Cy Twombly

Quattro Stagioni I: Estate

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