Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and t...
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Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley
Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painters method and style as well as his motifs of seriality, difference, and repetition influenced Deleuzes work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that centurys most original and important painters.
In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuzes most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacons paintings but also as a crucial text within Deleuzes broader philosophy of art.
Gilles Deleuze nació en parís en 1925. Desde 1970, es profesor de filosofía en la Sorbonne. Es autor de varios libros : Nietzsche y la filosofía (1962), La filosofía crítica de Kant (1963), Proust y los signos (1964), Spinoza y el problema de la expresión (1968), La lógica del sentido (1971) y, en 1972, en colaboración con Félix Guattari, del libro que le dio a conocer mundialmente y le convirtió en uno de los filósofos más polémicos de los años setenta, El anti-Edipo. Capitalismo y esquizofrenia.