28 Feb 2010

Rhythms of a Slaughter [29] Triptych, Three Studies for a Crucifixion, 1962. Deleuze on Bacon, Painting Series

by Corry Shores
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[I am profoundly grateful to the sources of these images:
Editions de la différence.
Credits given at the end.]

[The following is quotation. My commentary is bracketed in red.]



Rhythms of a Slaughter


Francis Bacon

Triptych, Three Studies for a Crucifixion, 1962


Painting 56 of Deleuze's
Francis Bacon: Logique de la sensation. Tome II - Peintures
Painting [29] of the English translation
and Painting [56] of the Seuil 2002 French

Already in the crucifixions, what interests Bacon is the descent, and the inverted head that reveals the flesh. In the crucifixions of 1962 and 1965, we can see the flesh literally descending from the bones, framed by an armchair-cross and a bone-lined ring [29, 35]. (Deleuze 2003: 17b)

Mais déjà dans les crucifixions, ce qui l'intéresse, c'est la descente, et la tête en bas qui révèle la chair. Et dans celles de 1962 et de 1965, on voit littéralement la chair descendre des os, dans le cadre d'une croix-fauteuil et d'une piste osseuse [56, 7]. (Deleuze 2002: 29bc.c)

[We might think of our bodies as being made-of flesh and bone. According to Deleuze, we discover in Bacon's works that the flesh best conveys or receives sensations. Consider how electricity sent through recently dead muscles can make them twitch. In fact, it is the flesh as meat which is the most able to sense and channel immediate sensations. In Bacon's paintings, we see the meat free itself by twisting-away from the bone. Note also that one of the forces acting on Bacon's figures is a downward falling force. What we find in the right panel of this triptych then is the carcass' meat falling-down from its skeleton.]



Later, the meat is given a head, through which it takes flight and descends from the cross, as in the two preceding crucifixions [29, 35]. (Deleuze 2003: 19a)

Ensuite la viande a une tête par laquelle elle fuit et descend de la croix, comme dans les deux Crucifixions précédentes. (Deleuze 2002: 31cd)


[If we look through the development of Bacon's artwork, we find that he begins by placing the head and pieces of meat near each other, then a bit later he paints the meatiness of the head. After this, he paints the head as a piece of meat, and finally, Bacon paints meat itself as being a head. In this painting, it is not so much that there is a meaty head on the carcass, as much as the meat on the carcass has a meaty head.]

(Again, thanks

(Thanks
Editions de la différence and the Estate of Francis Bacon)


First of all, we can see that there are many explicit attendants in the triptychs: 1962, the two disquieting characters in the left panel [29]; 1965, the two small old men seated at a table in the right panel, and the nude woman in the left panel [35]; (Deleuze 2003: 53bc.c)

Nous voyons d'abord qu'il y a beaucoup de témoins explicites dans les triptyques : 1962, les deux personnages inquiétants du panneau gauche [56] ; 1965, les deux petits vieillards attablés du panneau droit, et la femme nue du panneau gauche [7] ; (Deleuze 2002: 73bc)


For example, the visible attendants of the 1962 triptych [29] seem to raise themselves up like vampires, but one is passive and supporting his back so as not to fall, while the other is active and ready to fly away; (Deleuze 2003: 55bc)

Par exemple, les témoins apparents du triptyque de 1962 semblent se dresser comme des vampires, mais l'un passif et soutenant ses reins pour ne pas tomber, l'autre actif et prêt à s'envoler ; (Deleuze 2002: 75c)


(Again, thanks
Editions de la différence and the Estate of Francis Bacon)

Bacon's figures take-on and rotate a set of three roles, according to Deleuze. There are three characters they may adopt: active, passive, and attendant. Each one is characterized by its role in the rhythm of the way we see and bodily receive and respond-to the painting. Deleuze obtains these rhythmic characters (personnages rythmiques) from Messiaen (see this entry for a detailed explanation of Messiaen's personnages rythmiques). One character is active. She acts upon another character, the passive one, all while a third character observes. Although the figures in Bacon's paintings rotate these roles according to how we sense the painting at that given moment, Deleuze does point-out that some figures are more explicitly attendant characters. In this case, we see two figures that observe the other characters. However, we can also experience them as taking-on active and passive roles. The one on the left seems to rise-up over the other one. This makes the rising-one active and the other one passive.]

(Again, thanks

(Again, thanks
Editions de la différence and the Estate of Francis Bacon)


Thus, in the 1962 Three Studies for a Crucifixion [29], we see the large orange contour pushing back the red field; (Deleuze 2003: 103b)

Ainsi, dans « Trois études pour une crucifixion » de 1962 [56], on voit le grand contour orange tenir en respect l'aplat rouge ; (Deleuze 2002: 139c)


Sometimes, finally, the field rather frequently includes a band or ribbon of another color. Such is the case in the right panel of the 1962 triptych (Three Studies for a Crucifixion [29]), which displays a vertical green ribbon, (Deleuze 2003: 103c)

Tantôt enfin, il arrive assez souvent que l'aplat comporte une bande ou un ruban d'une autre couleur : c'est le cas du panneau droit de 1962, que présente un ruban vert vertical, (Deleuze 2003: 139c)


[The armature] can consist in the action of a very particular section of the field that we have not yet considered: the field occasionally includes a black section, sometimes quite localized (Pope No. II, 1960 [27]; Three studies for a Crucifixion, 1962 [29]; Portrait of George Dyer Staring into a Mirror, 1967 [45]; Triptych, 1972 [70]; Portrait of a Man Walking down Steps, 1972 [68]), (Deleuze 2003: 104c)

[l'armature peut] consister dans l'action d'une section très particulière de l'aplat que nous n'avons pas encore considérée : en effet, il arrive que l'aplat comporte une section noire, tantôt bien localisée (« Pape n° 2 » 1960 [45], « Trios études pour une crucifixion » 1962, « Portrait de George Dyer regardant fixement dans une miroir »1967, « Triptyque » 1972, «Homme descendant l'escalier » 1972), (Deleuze 2002: 140c.d)


[Deleuze thinks that Bacon's figures are pinned-up and held-to a monochromatic field, like how a sculpture is supported by an armature (see this entry for more elaboration on armatures). Most times there are sequences of changes in the color as the field passes from one area to the next. This would be a way that Bacon 'modulates' the color. Deleuze notes a number of different ways Bacon does this. In this case, we have an orange floor. Its edge or contour comes up against a red wall. So here the contour serves to divide the modulations. In other cases, there is a band of color that inserts itself into the broader field. Here we have a green ribbon.

(Again, thanks


But notice also how the divided sections of the field, the floor and wall, seem to suggest a horizontal plane (the floor) and a vertical one (the wall). This would seem to no longer make the field flat but rather three-dimensional. So we might try to perceive the back wall as set at a distance behind the figures. However, Bacon adds the black windows. They project forward to about the same depth as the figures.]



(Again, thanks
Editions de la différence and the Estate of Francis Bacon)




(Thanks
nytimes.com,
Adrian Dennis/Agence France-Presse — Getty Images)





(Again, thanks




Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Transl. Daniel W. Smith. London/New York: Continuum, 2003.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.



Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


Images obtained gratefully from:

Adrian Dennis/Agence France-Presse — Getty Images



Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.

Three Studies for a Crucifixion 1962 Oil on board, 1982 x 1448 mm
© The Estate of Francis Bacon/DACS 2008
Courtesy Solomon R Guggenheim
Museum New York

Primal Beginnings. [14] Study of a Baboon, 1953. Deleuze on Bacon, Painting Series





[I am profoundly grateful to the sources of this image:
Estate of Francis Bacon; www.tate.org.uk, and MOMA. Credits given at the end.]

[The following is quotation. My commentary is bracketed in red.]



Primal Beginnings



Francis Bacon

Study of a Baboon, 1953

Painting 15 of Deleuze's
Francis Bacon: Logique de la sensation. Tome II - Peintures
Painting [14] of the English translation
and Painting [135] of the Seuil 2002 French



What fills the rest of the painting will be neither a landscape as the correlate of the Figure, nor a ground from which the form will emerge, nor a formless chiaroscuro, a thickness of color on which shadows would play, a texture on which variation would play. Yet we are moving ahead too quickly. For there are indeed, in Bacon's early works, landscape-Figures like the Van Gogh of 1957 [23]; there are extremely shaded textures, as in Figure in a Landscape (1945) [2] and Figure Study I (1945-6) [4]; there are thicknesses and densities like those of Head II (1949) [5] (Deleuze, 2003: 3b.c) [...] But destiny can sometimes pass through detours that seem to contradict it. For Bacon's landscapes are a preparation for what will later appear as a set of short "involuntary free marks" lining the canvas, asignifying traits that are devoid of any illustrative or narrative function: hence the importance of the grass, and the irremediably grassy character of these landscapes (Landscape, 1952 [8]; Study of a Figure in a landscape, 1952 [9]; Study of a Baboon, 1953 [14]; Two Figures in the Grass, 1954 [17]). (Deleuze 2003: 3c.d)

Ce qui remplit le reste du tableau, ce ne sera pas un paysage comme corrélat de la figure, ni un fond dont surgirait la forme, ni un informel, clair-obscur, épaisseur de la couleur où se joueraient les ombres, texture où se jouerait la variation. Nous allons trop vite pourtant. Il y a bien, ou début de l'oeuvre, des Figures-paysages comme le Van Gogh de 1957 ; il y a des textures extrêmement nuancées, comme « Figure dans un Paysage » ou « Figure étude I », de 1945 ; il y a des épaisseurs et densités comme la « Tête II » de 1949; [...] Mais il n'est pas exclu que ce qui est destin passe par des détours qui semblent le contredire. Car les paysages de Bacon sont la préparation de ce qui apparaîtra plus tard comme un ensemble des courtes « marques libres involontaires » rayant la toile, traits asignifiants dénués de fonction illustrative ou narrative : d'où l'importance de l'herbe, le caractère irrémédiablement herbu de ces paysages (« Paysage » 1952, « Étude de figure dans un paysage » 1952, « Étude de babouin » 1953, ou « Deux figures dans l'herbe » 1954). (Deleuze 2002: 13-14)


[Bacon's later works will more often have figures set in contrast to a surrounding monochromatic field. Yet here we see that the surrounding field has a texture and a sort of extensive depth to it, and also it integrates with the figure somewhat.

(Again, thanks Estate of Francis Bacon and MOMA)


However also, Bacon's later works will make use of random markings to scramble the logic of the relations between and within the figures. We see the beginning of these markings in the paint strokes for the grass.]




Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Transl. Daniel W. Smith. London/New York: Continuum, 2003.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


Images obtained gratefully from:

Study of a Baboon 1953
Oil on canvas
1980 x 1370 mm
© The Estate of Francis Bacon/DACS 2008
Digital image © 2008, The Museum of Modern Art, New York. James Thrall Soby Bequest, 1979


27 Feb 2010

Deleuze Cinema Update: The Visible Voices of Invisible Men. James Whale. The Invisible Man


by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]

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There is a new Deleuze Cinema Project entry. Click on the title below.



Forces in a Landscape [23] Study for a Portrait of Van Gogh II, 1957. Deleuze on Bacon, Painting Series

by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]Link

[Central Entry Directory]
[Deleuze Entry Directory]



[I am profoundly grateful to the sources of these images:
Editions de la différence;
Credits given at the end.]


[The following is quotation. My commentary is in brackets.]


Forces in a Landscape

Deleuze on Bacon, Painting Series


Francis Bacon

Study for a Portrait of Van Gogh II, 1957
Edwin Janss Thousand Oaks Collection, California

Painting 1 of Deleuze's
Francis Bacon: Logique de la sensation. Tome II - Peintures
Painting [23] of the English translation
and Painting [65] of the Seuil 2002 French


(Thanks
Editions de la différence and the Estate of Francis Bacon)


What fills the rest of the painting will be neither a landscape as the correlate of the Figure, nor a ground from which the form will emerge, nor a formless chiaroscuro, a thickness of color on which shadows would play, a texture on which variation would play. Yet we are moving ahead too quickly. For there are indeed, in Bacon's early works, landscape-Figures like the Van Gogh of 1957 [23]; there are extremely shaded textures, as in Figure in a Landscape (1945) [2]. (Deleuze, 2003: 3bc)

Ce qui remplit le reste du tableau, ce ne sera pas un paysage comme corrélat de la figure, ni un fond dont surgirait la forme, ni un informel, clair-obscur, épaisseur de la couleur où se joueraient les ombres, texture où se jouerait la variation. Nous allons trop vite pourtant. Il y a bien, ou début de l'oeuvre, des Figures-paysages comme le Van Gogh de 1957 [14]; il y a des textures extrêmement nuancées, comme « Figure dans un Paysage » [58] (Deleuze, 2002: 13d)


[Bacon's later works will have a blank field as the 'background', rather than a landscape. And the figures will be set in contrast to the field, as if they were aliens to it. Yet in this painting we see that there is a figure who relates to his background. He is strolling down a path. Yet Deleuze still sees this work as a precursor to Bacon's later works. He will come to use random 'involuntary free marks' and 'asignifying traits'. This serves to scramble the logic of the painting's relations. Deleuze says that we see already the beginnings of such markings in this painting. Perhaps we might look to these regions:]


(Again, thanks
Editions de la différence and the Estate of Francis Bacon)


Bacon's Figures are often frozen in the middle of a strange stroll [68], as in Man Carrying a Child [22] or the Van Gogh [23]. (Deleuze 2003: 29b)

les Figures de Bacon sont souvent saisies dans le vif d'une étrange promenade : « L'Homme portant un enfant » [65], ou le Van Gogh. (Deleuze 2002: 44bc)

[Bacon is said to produce different levels of sensation. Deleuze will offer his theory that the levels result from layers of resonance that are produced by rhythm. But first he examines other possible interpretations of what these layers might be. Consider when different phases of motion are superposed, as in Duchamp's Nude Descending a Staircase, No. 2 (Click on this prior link of Duchamp's painting for a more detailed analysis of this work and of this sort of decomposed motion).


We might think of each superposed but successive motion-phase to present a different level of sensation. But as Deleuze notes in the case of the Van Gogh painting, the figure is "frozen" in the middle of his stroll.

(Thanks
Editions de la différence and the Estate of Francis Bacon)


According to Deleuze, we do not in Bacon's works obtain sensations by viewing motions proceeding through extensive space. Rather, it is the figure's inner tendencies to move, which are jumbled and wrestling together. They are not motions extending through space (not extensities), but rather forces of tangling inward tendencies (intensities). A wrestling match goes-on in Bacon's figures, even without any extent of time passing-by. It is the unpredictable variations in these intensities that cause us sensations.]


(Thanks www.alexalienart.com)



Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Transl. Daniel W. Smith. London/New York: Continuum, 2003.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Paris: Seuil, 2002.

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


Images obtained very gratefully from:

Deleuze, Gilles. Francis Bacon: Logique de la sensation. Tome II - Peintures. Paris: Editions de la différence [Littératures], 1981.


http://www.alexalienart.com/alexgallery2.htm