Francis Bacon: The Logic of Sensation
Gilles Deleuze was one of the most influential and revolutionary philosophers of the twentieth century. Francis Bacon: The Logic of Sensation is his long-awaited work on Bacon,widely regarded as one of the most radical painters of the twentieth century.The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon's style: the isolation of the figure, the violation deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Along the way, Deleuze introduces a number of his own famous concepts, such as the 'body without organs' and the 'diagram,' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions.Deleuze links Bacon's work to CTzanne's notion of a 'logic' of sensation, which reaches its summit in color and the 'coloring sensation.' Investigating this logic, Deleuze explores Bacon's crucial relation to past painters such as Velasquez, CTzanne, and Soutine, as well as Bacon's rejection of expressionism and abstract painting.Long awaited in translation, Francis Bacon is destined to become a classic philosophical reflection on the nature of painting.
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The Round Area the Ring
Note on Figuration in Past Painting
Body Meat and Spirit BecomingAnimal
Recapitulative Note Bacons Periods and Aspects
Painting and Sensation
Every Painter Recapitulates the History of Painting in His or Her Own Way
Note on Color
The Eye and the Hand
Index of Paintings
Couples and Triptychs
Note What Is a Triptych?
The Painting before Painting
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abstract active already analogical animal appears Bacon becomes body broken tones Cezanne Chapter character cliche close color completely constitute contour contraction contrary coupled defined deformation diagram direction effect elements emerge entire escape example face fact fall field Figure flesh forces function geometry givens gives ground hand haptic head intense Interviews isolated kind language light longer manual marks material matter means meat modulation mouth movement object Oil on canvas opposed opposition optical organs painter painting panel Paris pass photograph pictorial plane Portrait possible precisely presence Private collection problem produced pure refer relations relationship remain render representation resemblance rhythm scream seems sensation sense separated shadow simple smile sometimes space speak structure Studies tactile takes things traits triptych turn visible visual whole York zone
Art Beyond Representation: The Performative Power of the Image
No preview available - 2004
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