Note on Figuration in Past Painting 3. Unfortunately the English edition has no imagery at all. The former is inseparable from its direct action on the nervous system, the levels through which it passes, the domains it traverses: being itself a Figure, it must have nothing of the nature of a represented object. When he paints the screaming Pope, there is nothing that might cause horror, and the curtain in front of the Pope is not only a way of isolating him, of shielding him from view; it is rather the way in which the Pope himself sees nothing, and screams before the invisible. Download Francis Bacon: The Logic of Sensation Ebook Online. Every sensation, and every Figure, is already an “accumulated” or “coagulated” sensation, as in a limestone figure. Francis Bacon: The Logic of Sensation by Gilles Deleuze at AbeBooks.co.uk - ISBN 10: 0816643423 - ISBN 13: 9780816643424 - University Of Minnesota Press - 2005 - Softcover Illuminating Bacon's painting's the nonrational logic of sensation, and the act of painting itself, this work--presented in lucid and nuanced translation--points beyond painting toward connections with other arts such as music, cinema, and literature. It is the nature of sensation to envelop a constitutive difference of level, a plurality of constituting domains. Bacon harbors within himself all the violence of Ireland, and the violence of Nazism, the violence of war. What does Bacon mean when, throughout the interviews, he speaks of “orders of sensation,” “levels of feeling,” “areas of sensation,” or “shifting sequences”? The current French edition contains only seven color plates. I read Francis Bacon, The Logic of Sensation from the perspective of the Heraclitean flux. 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. Minneapolis: University of Minnesota Press (2003) And it is true that painting, and especially Bacon’s painting, proceeds through series: series of crucifixions, series of Popes, series of self-portraits, series of the mouth, of the mouth that screams, the mouth that smiles… Moreover, there can be series of simultaneity, as in the triptychs, which make at least three levels or orders coexist. 1) Corry Shores' blog called "Pirates and Revolutionaries" has the paintings by Bacon that Deleuze refers to, along with relevant quotes from Deleuze and Mr. Shores' own extremely helpful commentary. You can leave a … Gilles Deleuze, Francis Bacon the Logic of Sensation (pt 1) Project: The Total Library. Sensation and Forces "Not to reproduce what we can already see, but to make visible what we cannot" (Paul Klee) The task of art, in all its forms, is to capture forces. A first response must must obviously be rejected. The book presents a deep engagement with Bacon's work and the nature of art. By Dana Polan. x-xv. But when he passes judgment on his own paintings, he rejects all those that are still too “sensational,” because the figuration that subsists in them reconstitutes a scene of horror, even if only secondarily, thereby reintroducing a story to be told: even the bullfights are too dramatic. What then, we must ask, is the source of this synthetic character, through which each material sensation has several levels, several orders or domains? In this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. ', 'Bacon not artist of his 'self-portrait'? 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 … Gilles Deleuze was one of the most influential and revolutionary philosophers of the twentieth century. The original French version of Francis Bacon: The Logic of Sensation was published in 1981 by Editions de la Difference as a two-volume set in their series La Vue le Texte, edited by Harry Jancovici. Here, he argues that we must think of sensation as being closely related to a force. Francis Bacon: The Logic of Sensation Gilles Deleuze 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. And certainly it is not easy to renounce the horror, or the primary figuration. Gilles Deleuze. Francis Bacon', 'Art Stars and Plasters on the Wounds: Why Have There Been No Great Irish Artists? Body, Meat, and Spirit: Becoming-Animal 5. 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