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Francis Bacon:
the logic of sensation
GILLES DELEUZE
Translated from the French by Daniel W. Smith
Acontinuum
• % •LONDON • NEW YORK
 
This work is published with the support of the French Ministry of Culture Centre National du Livre.
 Liberli • Egalilt • Fraternite
REPUBLIQUE FRANQAISE
This book is supported by the French Ministry for Foreign Affairs, ipari of the Burgess programme headed for the French Embassy inLondon by the Insiitm Francais du Royaume-Uni.
Continuum
The Tower BuildingI I York RoadLondon, SE1 7NX
www.conlimiumbooks.com
15 East 26th StreetNew York NY looioFirst published in France, 1!)8L by Editions de la Differencer Editions du Seuil. 2002,
Francis Bacon: Ijgique de la Sensation
This English translation (' Continuum 2003This paperback edition published 2001 by ContinuumAll rights reserved. No part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanicalincluding photocopying, recording or any information storage orretrieval system, without prior permission in writing from thepublishers.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from The British LibraryISBN0 8264 6647 8 (Hardback I) 8264 71518 0 (Paperback Typeset by BookF.ns Ltd.. Royslon. Herts.Printed by Ml'C Books Ltd.. Bodmin, Cornwall
* 
Contents
Translator's Preface, by Daniel W. SmithPreface to the French Edition, by Alain Badiouand Barbara Cassin Author's Foreword  Author's Preface to the English Edition
1. The Round Area, the RingThe round area and its analogues Distinctionbetween the Figure and the figurative The fact -The question of "matters of fact" The threeelements of painting: structure, Figure, andcontour Role of the fields2. Note on Figuration in Past FaintingPainting, religion, and photography On twomisconceptions3. AthleticismFirst movement: from the structure to the FigureIsolation Athleticism Second movement:from the Figure to the structure The body escapesfrom itself: abjection Contraction, dissipation:washbasins, umbrellas, and mirrors1. Body, Meat, and Spirit, Becoming-AnimalMan and animal The zone of indiscernibility
iii
 
Contents
Flesh and bone: the meat descends from the bonePity Head. face, and meat5. Recapitulative Note: Bacon's Periods 27and AspectsFrom the scream to the smile: dissipation Bacon'sthree successive periods The coexistence of allthe movements The functions of the contour6. Painting and Sensation 34Cezanne and sensation The levels of sensationFiguration and violence The movement of translation, the stroll The phcnomenological unityof the senses: sensation and rhythm7. Hysteria 44The bod)
1
without organs: Artaud Worringcr'sGothic line What the "difference of level" insensation means Vibration Hysteria and presenceBacon's doubt Hysteria, painting, and the eye8. Painting Forces 56Rendering the invisible: the problem of paintingDeformation: neither transformation nordecomposition The scream Bacon's love of lifeEnumeration of forces9. Couples and Triptychs 65Coupled Figures The battle and the coupling of 
sensation Resonance Rhythmic Figures
Amplitude and the three rhythms Two types of "matters of fact"10. Note: What Is a Triptych? 74The attendant The active and the passiveThe fall: the active reality of the difference in levelLight, union and separation
Contents
11. The Painting before Painting ... 86Cezanne and the light against the clicheBacon and photographs Bacon and probabilitiesTheory of chance: accidental marks The visualand the manual The status of the figurative12. The Diagram 99The diagram in Bacon (traits and color-patches)Its manual character Painting and the experienceof catastrophe Abstract painting, code, and opticalspace Action Painting, diagram, and manualspace What Bacon dislikes about both these ways13. Analogy 111Cezanne: the motif as diagram The analogicaland the digital Painting and analogy Theparadoxical status of abstract painting Theanalogical language of Cezanne and of Bacon:plane, color, and mass Modulation Resemblancerecovered14. Every Painter Recapitulates the History of 122Painting in His or Her Own Way ...
Egypt and haptic presentation Essence and
accident Organic representation and the tactileoptical world Byzantine art: a pure optical world?Gothic art and the manual Light and color,the optic and the haptic15. Bacon's Path 135The haptic world and iis avatars ColorismA new modulation From Van Gogh andGauguin to Bacon The two aspects of color:bright tone and broken tone, field and Figure,shores and Hows ...v
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