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    Excelente introdução filosófica à pintura de Francis Bacon.

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    Deleuze on Bacon

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    Excelente introdução filosófica à pintura de Francis Bacon.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    13 views14 pages

    Deleuze On Bacon

    Uploaded by

    JorgeLuciodeCampos
    Excelente introdução filosófica à pintura de Francis Bacon.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 14
    TRANSLATOR'S INTRODUCTION Deleuze on Bacon: Three Conceptual “Trajectories in The Logic of Sensation Daaiel W. Sieh Pros Baan The Logic of Sent i roparabe en which Giles Dele: 1925-199) one ofthe mont rgnal French phiso- pes ofthe ease centr, confons the work of Francs acon {0909-199} one ofthe most orga pater of that etary The ‘ook original appeated in 198, when Bacon and Delewne were tot he eight of thei powers Although already well nown 3 ‘hetime Bacon was arly canon paiter and was eve pec incrtsin res fr is Sur leaning. When Deleuze bok p- ered, izecvednunber of fivorble eviews bi hen wa rg paved oven sence Today, The Lg of Sematon bs come be ‘Reogized as one of Deleae ras sigue tents in sete. ‘othe Bis book Dleusepubihed aftr his deeae-long collabo Faton with Fl Goatarion the two volumes of Capital and Stiupbrenia (1972, 1980? Inthe following yes, Deleue would Dubin» nanter of wal on thea, acading the ewo-eume {Gino (98,185), The Fl: Les nd be arg (188) a he ngs on iterate cole in Ey Crna nd Cll (1998)* “The Lag of Seaton an ths be read 0 only 3 piosophiel stad of Uaceas patings bu abo ar a cri text within Dele Sree philsopy of re? “The orignal French veion of Prana The Logica Smee ‘in was pb in ars by Eon de la Dilférence a o> volume st The Bit vole contained Dleure xy the socond ‘olan contd ene af il-pge reproductions of Bacon sin Jing allowing renders 0 vew nd ey the reproductions dey alongside Delene' tex. Repeat has aot been posible ine lade reprauctions inthe peeen ition ages of Bacon paint ings however widely ral buh on-line and in xaos, and bani W. Sth ic goes without saying thot Deleuz's book s best red with such images cn hand The paintings cted by Delevze are designated by a number in brackets, which refers othe chronological st of Bacons pings a the end of the volume. ‘Deleuze has frequently insisted shat he wets om the ars not as act but aa philosopher, and that hs works onthe various arts inst therefore be read se isl as, as works of philosophy, nothing bu pilosophy, in the tadisonal sease of the wor.” In ‘Whats Pilon? (6991), Delene and Gotan define pilosopby a an aetiviy that consis in the cestion or invention of concep “One can very easly think without concepts,” Deleuze writes, “but 1s soon a there concep, there is aly philosophy.” Yet arts isan equally creative enterprise of thought, bot one whose objects co ees sensible aggregats ater than concep. Great artists are abo great thinkers, but they chink in terms of pereepts and aes "ther than concep psiters thinkin terms of lines and clos, just 5 mmusiias think in sounds, Slinmakers dink in images, weitere think in words, and soon. None ofthese seis has any priority ‘over the others. resting concep nether more diffe nor more absiracethan creating new vst, sonorons or verbal combinations {nary converey ie no easier to read an image, painting or novel than i sco comprehend » concept. Pilosophy, for Deleuze can ‘never be underalenindepeadendy fat (or cence) alas enters ino relations of mutval resonance and exchange with these other domains, tough for resons that are always incernal to piosophy inl, ‘Asa philosopher, then, Deleuze am in is analyses ofthe ats isto create the concep tht correspon to these sense aguregts In The Lig of Semntion, Deane creates series of losophicalcon- cepts each of which not only eats toa particular aspect of Bacons prinings bur also Gis pce a general logic of sensation "The tests organized in qasi-mascalfshion, divided inc seventesn = ‘quenees shit each develops concepts a i thay were melodic lines, ‘which in tur ener inca incresingly complex contrapuntal relations ain! together form a Kind of conceptual composition that parallels “Tsar oto i Bacon sosble compositions In a inilar manner, Deleuze hor ‘volume Cinna ean be read a8 3 book of logic, logic of the cin- cma” shat ses out “to solace certain cinematographic concep,” ‘concept which are specific tothe cinema bat which ean only be formed philosophically Strict ypeaking, there is no “plosophy of are in Deleuze “are sie concep, ue a porely nominal ‘one, singe there necessarily exis diverse problems whose solutions are found in heterogeneous ars. Hermann Broch wrote dat “the ‘sie rau re ofthe novel ito discover whac only the novel can ciscover” and each ofthe at, and each work ofa, canbe sid 10 ‘onfront ts ow particule problems, sing its own prcculermate- ‘island tehnigues. The cinema, for istnce, produces images that ‘move, and tht move in time and iti these tro apes of fim that eles sets out to analyze in The Mocement-bnage and The Time- nage: "What exactly does the cinema show us about space and dine thatthe other arts dont show?" Similarly, Pane Bato: Be Lag of Semin, sits iene, tonya tay of Bacon paintings ‘butalso an inquiry ito a more general logic of sensation. Readers who approach this book expecting 2 work of arte om wil hus be disappointed. Ther lie discussion ofthe socio- cultural mien in which Bacon lived and worked; nor of his arise influences or contemporaries, sch as Lucan Pevd or rank Anet- ‘ac; nr of his personal fe (is homosexual; his lovers and ends, his drinking and gombling, his nights at the Colony Room Clsb), ‘which played such an evident oe in Bacon's work and in his choice of sabes Bren the secondary sources are sparse. Apart fom ro shore teas by the French writers Michel Leris and Mare Le Bot, the only secondary book Deleuze refers to is John Rossells 1971, ‘now-classe sud, Pron Bac The links Deleuze eabishes with ‘acon work ae at ofen as no with writes (Conrad, Prous, Beek- «et, Kala, Burroughs, Artaud) and musicians (Messin, Schumann, Berg) ha igure prominently in Deleuze other wetings, but whom ‘Bacon may or may not have ben nflcnced by or even ea In this sense, Tb Logi of Senatin is a highly personal book, dhough iis Indy writen i a persona ape Daniel W. Sith Deleuze wrote his study of Bacon atthe suggestion of Harry Jancovic the editor ofthe series in which the book ist appeared, ‘which was le La re le teste, Te sim of te sries wast explore the resomances benveen the visual ars and domains such as philos- ‘phy and literature, and it woold come to include cexts by the phi- Towopher Jen-Frangois Lyoaard and the writer Michel Butor!* ‘Delewe never exlaine why he chose to write on Bacon in patet- Jar Bacon, however, a a tong presence in Pais during the 1970s and 1980 He maintained «stad near the Place des Voges and was ‘lose ends with Leis, whose portrait Bacon painted several mes and who ia turn wrote several important texts on Bacon Itwas the ‘Grand Pais exhibition of 1971 in Paris chac had cemented Bacon’ inmerational reputation, and the exhibition atthe Galerie Clade Bernard in 1977 further soled his positon in che late 19705." Delenze undoubtedly encountered Bacon work at some point at an exhibition in Paris—in Inter inerview, Deleuze says that he frequently went to art exhibitions and Sls on weekend on the Tookout fo precisely tis kind of "encounter." The book itself a= rests to the profound resonances Deleuze found berween his own ‘work aml Bacon’ paintings. "The relationship hesseen the two men, however, was not pet= sonal. Deleaze and Bacon inet oniy once, sometime afer the hook tras published, Deleuze had sent the orginal manuscript to Racon, ‘who was intrigued by the book and delighted with the aetion. “The two arranged to spend an evening together, and Deleuze rived With what Bacon described as File “court of admirers. Michael Peppiatt, in his biography Francs Bacon: Anatomy of en Eng e- ports that “although there was a prcepible sympathy and adiira- ton between the two men, no friendship evohed.” Deleuze later recollected some of his impressions in an interview: "One senses in Tio. a power and violence, but also a very great charm. After e sated for an hour ors, he oetoes himself in every direction, aif he were himself Bacon paining...When T met Bacon, he sai thar he dreamed of painting a wae, but dared not belie in the socces of such venture, eis lesson of the paint, a gret pater “Tear eoduton- 2 ‘who comes to ay ro hse Te would be nice i cold tap ale ‘wave. 18 ery Prousian; or Cézannian “Ab! IF only T could man- age to paint lil apple!" According to Pepiat, the two would ever meet again, ‘Deleuze sid tha he woot this book primarily with owoehings in font of him: reproduction of Bacon paintings and he exe of Davi Sylvester iterviews with Bacon, which had bees published jn 1975 under the tile De Bray of Fa." This approach reflees the trsion ueween perexpt an concep: how does one lk in ane ‘medium (concep) about the practices of another (percep)? The dcr that one should eed what atin do not what they 3,0 les re for Bacos than for oser arin. “Ihave ofan tied to ale shout painting.” be cautioned, "but writing ar talking about i is ‘only an approximation, as painting i ts own language and i not translatable neo words" Nonethles, Bacon’ interviews contin penetrating discussions of dhe practice of pining, and have bees favorably compared with Delacrot’s journals and da Vines note- books, Deleuze himself ints thar we donot licen closely enought to what psnters have to say. “The texts of a pines act in = com> pletely diferent manner than the painngs” he notes. In genera, ‘when artists speak of what they are doing, they have an extra ‘ndinary modes, a severity toward themelves, and agree force ‘heya theft ses the maar of be comets daft are laengaged i thir work." Deleuze thus uses the interviews not 3¢

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