Francis Bacon: the logic of sensation GILLES DELEUZE Translated from the French by Daniel W. Smith continuum LONDON • NEW YORK This work is published with the support of the French Ministry of Culture Centre National du Livre. Liberte • Egalite • Fraternite REPUBLIQUE FRANCAISE This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Francais du Royaume-Uni. Continuum The Tower Building 370 Lexington Avenue 11 York Road New York, NY London, SE1 7NX 10017-6503 www.continuumbooks.com First published in France, 1981, by Editions de la Difference © Editions du Seuil, 2002, Francis Bacon: Logique de la Sensation This English translation © Continuum 2003 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Gataloguing-in-Publication Data A catalogue record for this book is available from The British Library ISBN 0-8264-6647-8 Typeset by BookEns Ltd., Royston, Herts. Printed by MPG Books Ltd., Bodmin, Cornwall Contents Translator's Preface, by Daniel W. Smith vii Preface to the French Edition, by Alain Badiou and Barbara Cassin viii Author's Foreword ix Author's Preface to the English Edition x 1. The Round Area, the Ring 1 The round area and its analogues Distinction between the Figure and the figurative The fact The question of "matters of fact" The three elements of painting: structure, Figure, and contour - Role of the fields 2. Note on Figuration in Past Painting 8 Painting, religion, and photography On two misconceptions 3. Athleticism 12 First movement: from the structure to the Figure Isolation - Athleticism Second movement: from the Figure to the structure The body escapes from itself: abjection Contraction, dissipation: washbasins, umbrellas, and mirrors 4. Body, Meat, and Spirit, Becoming-Animal 20 Man and animal The zone of indiscernibility in Contents Flesh and bone: the meat descends from the bone Pity - Head, face, and meat 5. Recapitulative Note: Bacon's Periods 27 and Aspects From the scream to the smile: dissipation - Bacon's three successive periods - The coexistence of all the movements The functions of the contour 6. Painting and Sensation 34 Cezanne and sensation — The levels of sensation — Figuration and violence The movement of translation, the stroll The phenomenological unity of the senses: sensation and rhythm 7. Hysteria 44 The body without organs: Artaud - Worringer's Gothic line - What the "difference of level" in sensation means Vibration Hysteria and presence Bacon's doubt — Hysteria, painting, and the eye 8. Painting Forces 56 Rendering the invisible: the problem of painting Deformation: neither transformation nor decomposition - The scream - Bacon's love of life - Enumeration offerees 9. Couples and Triptychs 65 Coupled 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? 74 The attendant - The active and the passive - The fall: the active reality of the difference in level - Light, union and separation iv Contents 11. The Painting before Painting ... 86 Cezanne and the fight against the cliche - Bacon and photographs Bacon and probabilities Theory of chance: accidental marks The visual and the manual The status of the figurative 12. The Diagram 99 The diagram in Bacon (traits and color-patches) - Its manual character Painting and the experience of catastrophe - Abstract painting, code, and optical space Action Painting, diagram, and manual space What Bacon dislikes about both these ways 13. Analogy 111 Cezanne: the motif as diagram The analogical and the digital -- Painting and analogy The paradoxical status of abstract painting The analogical language of Cezanne and of Bacon: plane, color, and mass Modulation Resemblance recovered 14. Every Painter Recapitulates the History of 122 Painting in His or Her Own Way .. Egypt and haptic presentation Essence and accident - Organic representation and the tactile- optical world - Byzantine art: a pure optical world? Gothic art and the manual Light and color, the optic and the haptic 15. Bacon's Path 135 The haptic world and its avatars - Colorism A new modulation From Van Gogh and Gauguin to Bacon The two aspects of color: bright tone and broken tone, field and Figure, shores and flows ... V Contents 16. Note on Color 144 Color and the three elements of painting Color-structure: the fields and their divisions The role of black Color-force: Figures, flows, and broken tones Heads and shadows - Color-contour - Painting and taste: good and bad taste 17. The Eye and the Hand 154 Digital, tactile, manual, and haptic - The practice of the diagram - On "completely different" relations - Michelangelo: the pictorial fact Index of Paintings 162 Notes 173 Index 197 vi Translator's Preface 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. The first volume contained Deleuze's essay, while the second volume consisted exclusively of full-page reproductions of Bacon's paintings, allowing readers to view and study the reproductions directly alongside Deleuze's text. Regret- tably, it was not possible to include reproductions in the present edition. Images of Bacon's paintings, however, are widely available both online and in catalogs, and it goes without saying that Deleuze's book is best read with such images on hand for viewing. The paintings cited by Deleuze are designated by a number in brackets, which refer to the chronological list of Bacon's paintings at the end of the volume. This translation might never have seen the light of day were it not for the tireless efforts of Tristan Palmer, to whom I owe a debt of gratitude. I would also like to thank Philippa Hudson for her careful reading of the manuscript. vii Preface to the French Edition Gilles Deleuze's book on Francis Bacon is something other than a study of a painter by a philosopher. Moreover, is this even a book "on" Bacon? Who is the philosopher, and who is the painter? We mean: Who is thinking, and who looking at thought? One can certainly think painting, but one can also paint thought, including the exhilarating and violent form of thought that is painting. We said to ourselves: "No doubt it will be impossible to match the splendor of the first edition. Too many things will be missing in the register of the visible. But is this a reason for us to forgo our duty, which is to ensure the continued circulation of this great book, and to prevent at any price its disappearance from the circulation to which it is destined and which has made it pass from hand to hand among lovers of philopainting or pictophilosophy, and among the perspicacious lovers of the equivalence, in the form of a fold, between the visible and its nominal inverse?" We have therefore decided to republish this book in the collection "L'Ordre philosophique," in which the func- tion of every book is to create disorder. And this book in particular. For the disorder that makes up one of the most beautiful books of our "Ordre," we would like to express our profound gratitude to those who have made this (re)publication possible, and who have thereby allowed us to do our duty. Alain Badiou and Barbara Cassin viii Author's Foreword Each of the following rubrics considers one aspect of Bacon's paintings, in an order that moves from the simplest to the most complex. But this order is relative, and is valid only from the viewpoint of a general logic of sensation. All these aspects, of course, coexist in reality. They converge in color, in the "coloring sensation," which is the summit of this logic. Each aspect could serve as the theme of a particular sequence in the history of painting. ix Author's Preface to the English Edition1 Francis Bacon's painting is of a very special violence. Bacon, to be sure, often traffics in the violence of a depicted scene: spectacles of horror, crucifixions, prostheses and mutilations, monsters. But these are overly facile detours, detours that the artist himself judges severely and condemns in his work. What directly interests him is a violence that is involved only with color and line: the violence of a sensation (and not of a representation), a static or potential violence, a violence of reaction and expression. For example, a scream rent from us by a foreboding of invisible forces: "to paint the scream more than the horror ..." In the end, Bacon's Figures are not racked bodies at all, but ordinary bodies in ordinary situations of constraint and discomfort. A man ordered to sit still for hours on a narrow stool is bound to assume contorted postures. The violence of a hiccup, of the urge to vomit, but also of a hysterical, involuntary smile Bacon's bodies, heads, Figures are made of flesh, and what fascinates him are the invisible forces that model flesh or shake it. This is the relationship not of form and matter, but of materials and forces making these forces visible through their effects on the flesh. There is, before anything else, a force of inertia that is of the flesh itself: with Bacon, the flesh, X Author's Preface to the English Edition however firm, descends from the bones; it falls or tends to fall away from them (hence those flattened sleepers who keep one arm raised, or the raised thighs from which the flesh seems to cascade).