Cy Twombly, who died this week. Photograph: Christophe Ena/AP
Howard Hodgkin
I can't bethink absolutely my aboriginal appointment with his work, but it was a knockout. I anticipate it was in Philadelphia: there was, or is, a allowance in a arcade there absolutely adherent to his plan [Fifty Canicule at Iliam, 1978, aggressive by Homer's Iliad]. The acquaintance was one of absolute immersion. He corrective with such affecting freedom. I went to see the new exhibition of his plan alongside Poussin's at the Dulwich Picture Gallery, London endure week, and they were able-bodied matched. Abundant of his plan refers to Poussin, as able-bodied as to added artists.
I never met him, unfortunately, admitting I anticipate I would accept been actual afflictive if I had: I would accept acquainted jealous. Painters don't necessarily get on able-bodied with one another. What would I accept been anxious of? I anticipate the actuality he fabricated his plan so alive in all sorts of ways, afterwards it acceptable expressionist. At a time if painting is conceivably not taken as actively as it already was, he was an amazing alarm for added painters. Absolutely I abstruse from him, from that absolute affecting openness. His plan became added acute and romantic.
I don't accept a favourite painting; and if I did, I wouldn't acquaint you.
Maggi Hambling
For me, he was the greatest active painter. The activity force he accomplished with the blow of his acrylic could absolutely not be accomplished by any automated means. He was so confused by his capacity – the advancement advance of a tulip, the airiness of a rose, the babble of a artery market, the carelessness of a bacchanal – that he moves us, profoundly.
It is as if his paintings are getting fabricated in foreground of me: they are not dead, accomplished things. The bond of activity and afterlife is cautiously counterbalanced in every mark: the acrylic breathes. I am taken into alien area that is fabricated anon familiar.
In these canicule of so abundant dry, clever, apathetic trivia, absolutely defective in advantageous accountable matter, Twombly stood a aerial hero. His admixture of acquaintance and grandeur, force and delicacy, creates a adult dynamism. He avant-garde the accent of acrylic – from backward Titian, through Rembrandt, Van Gogh, Rothko and Pollock – and so takes his abode a part of the elite. He is dead, but the adventuresomeness of his plan lives on.
Michael Craig-Martin
I aboriginal encountered Twombly as a apprentice in the aboriginal 60s. I've been cerebration about how his plan seemed then, how it was anticipation about – which I'm not abiding is the aforementioned as it is now. The ascendant art of the aeon was abstruse expressionism: a actual assertive, extrovert, blowing art like that of Jackson Pollock or Willem de Kooning, actual gestural. And again there was Twombly's work, which was attentive and fragile. It was aswell abstract, but the affection could not accept been added different.
One of the amazing things about his work, from the ancient canicule to now, is that you can see him in it – appropriate through the accomplished thing. It is a actual abiding and able physique of work. But in his afterwards years, if he was in his 70s, the paintings themselves got bigger and the gestures got bigger; they became abundant added extrovert.
He brought a assertive affectionate of mark-making to art – that hardly artless activity of scribbling on paper, but which al of a sudden becomes actual animal and abounding of abeyant meaning. These were the affectionate of marks that didn't absolutely abide in painting afore him: seedy-like marks and scratchings. You can see that, say, graffiti art came afterwards him: he is the getting afore [Jean-Michel] Basquiat.
He started this affair of getting aerial and understated, but added animal than emotional. His works showed altered possibilities in painting. Now that he's acclaimed and his plan is familiar, it's simple to overlook what an apparatus that was, what alien area this was.
The paintings themselves are actual obscure, abounding of cursory meanings. If you're not admiring to that, and wish an absolute accountable amount and bulletin – which humans generally do today – these paintings are apparently too subtle, ungiving. They're like a brainy belief - if your apperception is hardly wandering. They're not didactic.
He was such a characteristic voice; there wasn't anybody abroad absolutely like him.
Fiona Rae
It feels like the end of an era. With Robert Rauschenberg and Sigmar Polke aswell gone, a lot of of the above heroes of abreast painting accept disappeared.
His paintings accept afflicted me enormously. They assume abounding of an improvisatory spirit and actualize a carelessness to accurate and cover whatever he capital – whether words from poems, or cacographic cartoonish hearts, or loopy, repetitive drawing. To me they seemed abounding of humour, as able-bodied as the airy abyss for which he is the acclaimed affiche boy.
His sculptures had a absurd faculty of the abstracted and hand-made, too: he was just as acceptable to cover $.25 of scrunched-up coloured tissue cardboard on top of an article as added tasteful, sculptural materials. His paintings straddled top and low, with acuteness and feeling, like sad bouquets.
Nicholas Cullinan
As a student, I went to the Menil Collection in Houston, which has a accomplished arcade adherent to Twombly's work. It had a huge effect. If you see a ambit of his plan you realise how accomplished he was at administration paint.
The aboriginal time I met him was about four years ago, if I formed on the 2008 Tate Modern attendant with Nicholas Serota. We both spent a lot of time talking to Cy about his activity and work. The chat ability is acclimated absolutely often, but he's apparently the alone getting I would mark down in that category: the way his apperception formed was so riveting. All kinds of things would accomplish him beam – not just things that were scholarly, but things that were bawdy. That aggregate of top and low was absolutely crucial. It was a absolutely natural, ad-lib reaction; it wasn't premeditated. He was an abundantly warm, generous, anxious person.
It would be a abashment if the plan seemed altered afterwards his passing. It has an aspect of melancholy, but consistently leavened with a faculty of the pleasures of life. His position in art history is assured. We're now able to go to Paris and see his beam in the Louvre, a abiding commission, and his abnormally admirable works, which breed in museums about the world.
Nicholas Cullinan was co-curator of Tate Modern's 2008 Twombly retrospective, and of the accepted exhibition at Dulwich Picture Gallery.
Brice Marden
I bethink seeing his Discourses on Commodus paintings in 1964, anon afterwards I confused to New York. It was the appearance [artist and critic] Donald Judd abundantly panned. There was a centralised filigree and a lot of roof paintings, and I was addled by the aggregate of that filigree and the atrocity of the painting. I acclimated to admiration what happened to them, why I never saw them around. Now, account the obituary in the New York Times, I see that anybody hated them. Later, if I became [Robert] Rauschenberg's assistant, he bought Twombly's Panorama, white book on atramentous or brown; it was absolutely a amusement to see that every day.
I alarm myself an abstruse painter, and he's one of the greats, so he's absolutely an influence. Cy wasn't abashed of paint, and he fabricated it do the a lot of admirable things. I don't anticipate he was too afflicted about whether or not he was fawned over on the art scene. He was amazingly relaxed, actual adequate with himself. I never heard him discussing his work, or Roman poets. You knew he admired to adhere out and watch things; aggregate abroad went into the painting.
It's consistently actual absorbing to see him in affiliation to Jasper [Johns] and Rauschenberg. They all came out of abstruse expressionism, but Jasper and Bob are realists, they acclimated absolute images; Cy backward abstract. There is that European touch, a assertive breeding – and I don't beggarly that in a aspersing sense.
Yesterday, I was aggravating to brainstorm him at work. I can see Richter, all these added people, but it's harder to see him physically applying the paint. There was the airy demeanour he had, but such an acuteness to the paintings. Was the airy demeanour because he had to be that way to plan up that affectionate of intensity? I don't know. I beatific him a agenda once, about his carve appearance in Basel, and he told me he taped it on his wall. It was an astonishing show.

