Deleuze think Francis Bacon is successor of Cezanne's painting art style

18/11/2013 20:12

 

Deleuze think Francis Bacon is successor of Cezanne's painting art style

Think he is a painter about (painter of since). Bacon and Cezanne's distinction lies in his canvas (canvas) in addition to draw feeling, also can put "body experience" of the ordinary (bodily experience) into a "body without wedding portrait painting organs" (body without outraged). Bacon paintings of "body" (the body) are in a no shapes but in has been "into bricks" (becoming - other). This makes to the paintings in the "body" is a kind of extraordinary power (power; puissance). In addition, deleuze also pointed out that the bacon in the oil painting "body" is often trapped in a space that isolation, and "body" often want to escape through a certain body parts - by screaming, vomiting, or other way to escape the plight of the body. 17) (Francis Bacon French Version.
Deleuze also points out that we can see in bacon's painting portrait appears similar to the animals. These animals, like a pig, dog, or a bird, from the paintings of bacon. Deleuze think bacon these animals is not only a kind of metaphor, but directly show human "become animals" (becoming - animal) potential. For showing The potential of human "become animals", The bacon also show The power of The pure physical sensibility (The power of meat).
Deleuze think is the most can show the Logic of "feeling" bacon (Logic of since) is his famous "sanlian" (triptych). So-called "logic" is pet portrait painting through the contradiction of "body" and "background" - bacon often produced by add a circle, shape or line the body "trapped" in a space, the body is also in the struggle, want to escape or breakthrough in this space. By this technique, bacon in the picture of a "rhythm" brought out (wrote). In addition to find the "rhythm" in a painting, we can also find between painting and painting the "rhythm". Through the "triple" bacon also succeeded in bringing "rhythm" liberated from the picture. In the "triple", he usually use the same color or line to paint their close relationship. While took their relationship, bacon also keep a distance of the three paintings, make between painting and painting also produced a "rhythm", "body" a can out of the picture of "rhythm". In other words, through the joint, the method of bacon to "rhythm" liberated. In other words, by way of the "triple", bacon show is no longer a "rhythm" in the painting, but between painting and painting of "rhythm", "rhythm" itself. [4]
{3} vision is a Subtraction (Perception as Subtraction)
When talking about the "rhythm" in oil painting and visual relationship before, we must talk about deleuze perception of visual feeling. We now have to talk about deleuze's visual epistemology (going of Perception). We usually put the visual (perception) as a kind of a phenomenon occurred in my mind. When we watch A bright spot in P, its rays focused my retina (retina), and took some cells A, B, C, brought to life through the neural connections in your mind. It's not. In fact, P, ray, the cells A, B, C and nerve system is one of the brain. P belong to the body, and P image or image is generated in the P rather than anywhere. [5] therefore, andres that vision is hidden in the objects not in the eye, in the bright (IM89; 60) in the image. Easier said, shiny not consciousness, but the image is a kind of consciousness, light is a kind of consciousness. And now that the universe is a series of images, then we can put the universe as a "yuan theater" (metacinema)

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