Bolsena Untitled Analysis

As a viewer of Untitled (Bolsena), one ponders and analyzes the mark making Cy Twombly portrays. With the neutral tone of the backdrop and the dark, rich strikes walking across the canvas, a somber tone comes across. As stated in the wall text beside the piece, “They can appear raw and subtle, impulsive and contemplative, abstract and representational, all at once.” Throughout the paper, there will be discussion as to what Twombly could possibly be representing, thinking, and feeling throughout the piece of Untitled (Bolsena).
When one analyzes Untitled (Bolsena), they can depict many things. We can start with the subtle tone of the backdrop. The backdrop color is of a soft cream. This soft tone does not provoke much but the sense of calmness and serenity. It has the warmth of a brown quality, but the softness of white purity. Even with the vastness of scale, there is nothing overwhelming of this piece.
On top of this subtle cream color, are these abstract mark making strikes and shapes, creating a rapid movement across the canvas. There appears to be basic, geometric, square-based shapes; some overlapping one another. Next to these shapes are numbers and scribble-like hatches. These hatches are comparable to that of a child. Behind these marks and in between the canvas, are subtle, soft patches of a greyish blue tone; as if there was a mark
Dubuffet allowed very bold and powerful colors to run throughout the canvas. The composition consists of teals, greens, blues, whites, tans, and random blotches of red. The ever-flowing deep black lines that bleed throughout the piece, direct you in all ways, keeping the viewers eyes constantly moving throughout the canvas. Compared to Twombly, who only used the subtleness of the white wax crayon and the melancholy tone of the graphite. He also inherits the washed out, erased effect from places he removed the graphite