Translated and with an Introduction by Daniel W. Smith
Afterword by Tom Conley
Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French p...
Translated and with an Introduction by Daniel W. Smith
Afterword by Tom Conley
Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters.
In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art.
In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. Francis Bacon is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole.
Gilles Deleuze (1925–1995) was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored Anti-Oedipus and A Thousand Plateaus with Félix Guattari. These works, as well as Cinema 1, Cinema 2, The Fold, Proust and Signs, and others, are published in English by Minnesota.
Daniel W. Smith teaches in the Department of Philosophy at Purdue University.
The book by Gilles Deleuze on Francis Bacon is more than the study of a painter by a philosopher. Is it from" on "Bacon, the book and who is the philosopher who is the painter? We want to say that think, and think that looks? One can certainly think of the ...
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吉尔·德勒兹 作者
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2 有用 Adiósardour 2010-10-29 22:32:55
培根的绘画中充满对肉的怜悯，所有痛苦的人都是肉。肉是身体的一种状态，在这一状态中，肉体和骨头在某个区域中产生对立，而不是在结构上结合。好像是肉体从骨头上卸了下来，而骨头又从肉体中戳了出来。毫无疑问，肉是培根的怜悯的最高对象，是他唯一怜悯的对象，带着他那爱尔兰人英国人的怜悯心。肉并非死去的肉体，它存留着一切痛苦，并保存了新鲜肉体的全部色彩。培根笔下的肉是主体，而骨头则通常是最后加上去的一抹色块。有那... 培根的绘画中充满对肉的怜悯，所有痛苦的人都是肉。肉是身体的一种状态，在这一状态中，肉体和骨头在某个区域中产生对立，而不是在结构上结合。好像是肉体从骨头上卸了下来，而骨头又从肉体中戳了出来。毫无疑问，肉是培根的怜悯的最高对象，是他唯一怜悯的对象，带着他那爱尔兰人英国人的怜悯心。肉并非死去的肉体，它存留着一切痛苦，并保存了新鲜肉体的全部色彩。培根笔下的肉是主体，而骨头则通常是最后加上去的一抹色块。有那么多的痉挛的脆弱的痛苦，同时又有那么多迷人的发现。 (展开)
0 有用 舒 2014-02-11 11:17:34
Ch. painting forces, inspiring!
0 有用 Albert-e 2015-03-23 05:12:07
painter of heads, not faces, meat, not flesh or bone.
0 有用 顾小拧巴 2018-11-15 05:32:12
英译版好读多了。。。
0 有用 sonoko 2008-05-20 20:54:07
July2018，Aug2021
0 有用 momo 2024-02-17 20:28:37 英国
Haptic vision
0 有用 Ranciere 2021-05-20 09:08:51
reach to another level and intensive reality
0 有用 M 2019-09-26 08:24:11
can't believe i have to google all the paintings. like one by one. hello?! 差评！！
0 有用 顾小拧巴 2018-11-15 05:32:12
英译版好读多了。。。
0 有用 Albert-e 2015-03-23 05:12:07
painter of heads, not faces, meat, not flesh or bone.