Francis Bacon: The Logic of Sensation

Francis Bacon: The Logic of Sensation

by Gilles Deleuze
     
 

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

Overview

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.

Editorial Reviews

Library Journal
Iconoclastic French philosopher Deleuze (1925-95) wrote this series of anti-analytical essays on specific paintings by his apparent muse, Francis Bacon, as the thinker began to formulate his approach to other aesthetic subjects (including cinema and literature). The French edition of this work, first published in 1981, came out in two volumes: the essays included here and a companion that printed the paintings discussed in these essays. The American publisher has done a disservice to both author and reader by failing to supply the images to accompany the essays. While publishing plates would have been costly, making arrangements for a companion web site is a technique other publishers have used successfully to amplify print text in our age. Nevertheless, Deleuze's developing style is well demonstrated by these essays, the translation of which maintains the philosopher's exacting use of syntax and tone to connote nonrational ideas clearly. Art historians as well as scholars of 20th-century intellectual history will find this a rich mine of original thought. Collection developers, however, should be sure that the appropriate Bacon images are available to potential readers.-Francisca Goldsmith, Berkeley P.L., CA Copyright 2004 Reed Business Information.

Product Details

ISBN-13:
9780816643417
Publisher:
University of Minnesota Press
Publication date:
10/17/2003
Pages:
264
Product dimensions:
5.69(w) x 8.74(h) x 0.90(d)

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