Francis Bacon 《蘭弗西斯‧培根︰感覺的邏輯 》 Feancis Bacon Logique de la sensation《法蘭西斯培根：作品全集》

Francis Bacon 《蘭弗西斯‧培根︰感覺的邏輯 》 Feancis Bacon Logique de la sensation《法蘭西斯培根：作品全集》

「培根畫中那條咆哮的狗，因其置於看似祥和的環境中而更顯兇猛。他終生飽受哮喘折磨，父親飼養的動物——不僅是馬匹，還有愛爾蘭紅雪達犬——加劇了他的病情。畫中棕櫚樹環繞的海岸公路取材於蒙特卡洛的明信片。描繪細節的綠色圓圈則取自1936年紐倫堡（D.C. Somervell，《百年影像集》，1951）。

馬丁哈里森，《法蘭西斯培根：作品全集》（倫敦：法蘭西斯培根遺產出版社，2016），第258頁

"Bacon’s snarling dog is the more menacing for being placed in an ostensibly benign setting. A lifelong sufferer from asthma, his condition had been exacerbated by the animals his father kept, not only the horses but also the Red (Irish) Setters. The coast road with palm trees was derived from postcards of Monte Carlo. The green circle describing the flowerbed was taken from a detail in a photograph of the 1936 Nuremberg Rally in D.C. Somervell, 100 Years in Pictures(1951). Given the complex web of associations that Bacon assimilated in his iconographies, it could also connote a roulette wheel."⁠

Martin Harrison, Francis Bacon: Catalogue Raisonné (London: The Estate of Francis Bacon Publishing, 2016) p.258

Painting: Dog, 1952

The largest Francis Bacon exhibition ever staged in the north of England is now open at Tate Liverpool. Learn something new about one of Britain’s greatest painters and explore more than 30 paintings, alongside rarely seen drawings & documents. Not to be missed.http://ow.ly/813h3008DLQ

2/4 British Masters - 3. A New Jerusalem

https://www.youtube.com/watch?v=p6MWykim8_w

Francis Bacon's oil paintings—huge canvases of suffering human figures against bare, sterile backdrops—are renowned. Less well known is the work he did on paper, as he cultivated the myth that he was a purely spontaneous maker of masterly works. The artist died on April 28th 1992

The murky, harrowing and raw images of Bacon's "X album"

Francis Bacon died on this day in 1992

ECON.ST

Guardian culture

Study of a Bull, 1991, has never been publicly seen, reproduced, discussed or written about

Francis Bacon: final painting found in 'very private' collection

Study of a Bull, 1991, has never been publicly seen, reproduced, discussed…

THEGUARDIAN.COM|由 MARK BROWN 上傳

Tate

Ever noticed the ghostly cage which frames Francis Bacon’s subjects? Explore Bacon’s iconic paintings in a new way with our Tate Liverpool exhibition in May 2016

Francis Bacon: Invisible Rooms

TATE.ORG.UK

Happy birthday to the artist ‪#‎FrancisBacon‬! What's your favourite Bacon painting? http://ow.ly/Ds3Fg

MoMA The Museum of Modern Art

Francis Bacon was born this day in 1909. Bacon's childhood fascination with butcher shops is reflected in several of his paintings.http://bit.ly/1va25G9

[Francis Bacon. "Painting." 1946]

http://en.wikipedia.org/wiki/Francis_Bacon_%28painter%29

嘉言錄
Art Gallery of Alex Alien
Soggy Slime Self Portrait (2000). Soaked Self Portrait (2000) .... Francis Bacon
, The Last Interview: Francis Giacobetti, The Art Newspaper, June 2003. ...


弗蘭西斯‧培根︰感覺的邏輯 Feancis Bacon Logique de la sensation

• 作者：[法] 吉爾‧德勒茲（Deleuze,G.）
• 譯者：董 強
• 出版社：廣西師範大學 出版社（北京貝貝特）
• 出版日期：2007年09月01日

內容簡介

在福柯打開的新視野中，德勒茲是將疆域拓展得最寬的一位，文學、電影、繪畫，不一而足。而這本論培根的作品，是德勒茲將哲學觸角引向繪畫的最有代表性的作 品，從中可以管窺德勒茲的基本哲學觀念，尤其是德勒茲的思想方法。 德勒茲認為-弗蘭西斯‧培根的繪畫以純粹的形象取代了具象繪畫，從而在抽象與具象之間，找到了第三條道路，拯救了形象在20世紀的命運，在他之前，塞尚已 經開始了類似的探索，而從更廣的藝術史角度來講，這一探索可以上溯到古埃及藝術。這一探索的本質，是用一種具有觸摸能力的視覺，取代了純粹的視覺，其間有 哥特藝術與巴洛克藝術曾經偶爾達到了這樣的視覺。 以下的每個章節都涉及培根繪畫中的一個方面，順序是從最簡單到最復雜。但這一順序是相對的，而且僅從感覺的一般邏輯的角度來看才有價值。 可以肯定的是，實際上，所有方面都是同時存在的。它們匯聚在色彩中，在“色彩感覺”中，而“色彩感覺”是這一邏輯的最高點。每一個方面都可以在繪畫史中成 為一個值得獨立探討的特點主題。 本書涉及的畫作也是漸次出現。它們均帶有一個序號（列于正文相關部分的旁邊），其中的一部分（加粗的序號）有其復制品可供參考（見彩色插圖），書末則列出 了所涉畫作的全部名單，並標出完備的參考資料。

詳細資料

• 叢書系列：影 像閱讀
• 規格：平裝 / 200頁 / 16.5cmX21cm / 普級 / 單色 / 初版
• 出版地：大陸

目錄

德勒茲的第三條道路——《弗蘭西斯‧培根︰感覺的邏輯》中文版導讀
法語版序
法語版前言
一 圓，圓形的活動場地
圓形與它的類比物
形象與形象化的區分
事實
“不可爭辯的事實”
問題
繪畫的三個元素︰結構、形象與輪廓
平涂的作用
二 關于古代繪畫與具象的關系的思考
繪畫、宗教與攝像
關于兩個錯誤理解
三 田徑運動
第一個運動︰從結構到形象
隔離
田徑運動
第二個運動︰從形象到結構
身體逃脫︰可憎
收縮、耗散︰洗臉池、雨傘與鏡子
四 身體，靈與肉，變成動物
人與動物
不可區分的區域
肉體與骨頭︰肉體從骨頭下滑下
憐憫
頭部、臉部與肉
五 概括性思考︰培根繪畫的不同時期與各個方面
從叫喊到微笑︰耗散
培根連續的三個時期
所有運動的共存
輪廓的功能
六 繪畫與感覺
塞尚與感覺
感覺的層次
形象化與暴力
搬移的運動，散步
感官的現象學統一體:感覺與節奏
七 歇斯底里癥
沒有器官的身體:阿爾托
沃林格的哥特線條
在感覺中的“不同層次”意味著什麼
震動
歇斯底里與在場
培根的懷疑
歇斯底里、繪畫與眼楮
八 畫的力量
表現不可見的事物:繪畫的問題
變形:既非轉化與非解構
叫喊
培根對生活的熱愛
力量的列舉
九 交合形象與三聯畫
交合的形象
感覺的搏斗與交合
共振
節奏形象
寬度與三個節奏
兩種“不可爭辯的事實
十 樸記︰什麼是三聯畫
見證人
積極的與被動的
墜落:層次的不同的積極現實
光線，匯聚與分離
十一 繪畫，在繪畫動作之前……
塞尚和與俗套的搏斗
培根與照片
培根與可能性
偶然性理論:偶然的劃痕
視覺的與手工的
形象化的地位
十二 圖形表
培根眼中的圖形表（線條與色點）
它的手工特征
繪畫與災變體驗
抽象繪畫，符號與視覺空間
行動繪畫，圖形表與手工空間
這兩條道路都不適合培根
十三 類比
塞尚:作為圖形表的繪畫題材
類比的與數碼的
繪畫與類比——抽象繪畫的悖論地位
塞尚的類比語言、培根的類比語言:平面、色彩與體積
調節
重新找回的相似性
十四 每位畫家都以自己的方式概括了繪畫史……
埃及和觸覺的視覺表現
實質與事故
有機的表現和觸覺
視覺的世界
拜佔庭藝術:一個純視覺的世界？
哥特藝術與手工
光線與色彩、視覺與觸覺的視覺
十五 培根穿越了什麼
觸覺的視覺世界及其衍生物
色彩主義
新的調節
從凡‧高和高更到培根
色彩的兩個方面:熱烈的色調與混合色調，
平涂與形象，大片色彩區與色彩流
十六 關于色彩的思考
色彩與繪畫的三大元素
色彩
結構:平涂與它們的分區
黑色的作用
色彩
力量:形象、色彩流與混合色調
頭部與陰影
色彩
輪廓
繪畫與品味:好品味與壞品味
十七 眼與手
數碼、觸覺、手工與觸覺的視覺
圖形表的實踐
“完全不同的”關系
米開朗基羅:繪畫事實
根據參考的順序先後所引用畫作的索引

序

top

吉爾‧德勒茲有關弗蘭西斯‧培根的書遠非一個哲學家對一位畫家的研究。那麼，這本書是否是“論”培根的?誰是哲學家，誰是畫家?我們的意思是︰誰在那里思 考，誰又存看著思考者思考?一定可以對繪畫進行思考，也一定可以將思想畫出來，包括繪畫這一激情、熱烈的思想形式。

我們白忖:“可能永遠也無法達到原版本的光輝。在‘可見’的領域內，我們缺了不少東西。但難道這可以是一個理由，讓我們逃避這樣一個職責，就是讓這本書不 斷地流通下去，不惜一切代價讓它繼續流通于它應該流通的領域，也就是從熱愛繪閫哲學與哲學繪畫的人的手中不斷地傳抄的領域?我們要讓它在那些熱愛哲學和熱 愛繪畫的人手中，以折疊的紙頁的形式，在‘可見’與‘不可見’之間流通。”

所以，我們決定將這本書在“哲學範疇”叢書中再版，在這一叢書中，每一本書的作用都是要打破秩序。尤其是這一本。面對這一為我們帶來最美的秩序的無序，我 們只能深深地感謝所有那些使得這一出版（再版）成為可能的人，也就是那些讓我們完成了職責的人。

阿蘭‧巴迪烏和芭芭拉‧卡桑





新書上架──仿培根的三習作

來自《善心女神》作者強納森．利特爾，一組認真易讀的研究，帶領我們更接近藝術家培根「對肉身的憐憫」。──Brian Dillon，英國《衛報》。

培根作品傳達的並非一具軀體的形貌為何，而是一具軀體的感受為何。本書針對如此深刻的命題，由文學、音樂、詩、攝影、繪畫、電影、心理學各角度予以解讀。推薦給所有欲進一步理解培根殘酷的愛的欣賞者，以及有志於藝術評論的文字工作者。──黃亞紀，亦安畫廊台北負責人。


●本書獲培根遺產受託單位授權，全彩收錄培根約70幅重要畫作及數張珍貴生前留影。

●法國鞏固爾文學獎得主、百萬暢銷作家、《善心女神》（Les Bienveillantes）作者強納森．利特爾最新藝術主題著作。

●從文學、繪畫、攝影、電影、歷史、宗教、心理學等角度切入，深入剖析培根的創作及性格。

 Klee and Kandinsky at the Bauhaus
https://www.christies.com/features/Klee-and-Kandinsky-7441-3.aspx
有英文影片

Klee and Kandinsky at the Bauhaus

Specialist Jay Vincze looks at the highly influential period of the artists’ lives when they were neighbours, friends and colleagues at the Bauhaus — with a collection of works offered in our Impressionist & Modern Art Evening Sale on 22 June

For over 30 years Wassily Kandinsky and Paul Klee enjoyed one of the most fruitful and lasting friendships in modern art, working, exhibiting and living alongside one another during some of the most groundbreaking years of their careers.

The pair embarked on their artistic education in Munich in the early years of the 20th century, studying at the city’s academy of fine arts under the tutelage of the painter Franz von Stuck. But it was not until a decade later, in October 1911, that they would become acquainted. By this stage, the two were neighbours, living on the same street in the artists’ quarter of Schwabing. 

Wassily Kandinsky (1866–1944), Zersetzte Spannung, (Disintegrated Tension), 1930. Oil on board. 19 ¼ x 13 ¾ in. (49 x 35 cm.) Estimate: £1,000,000–1,500,000. This work is offered in the Impressionist & Modern Art Evening Sale on 22 June at Christie’s in London

Kandinsky recorded his first impressions of the young Klee in a letter to his close friend Franz Marc, explaining that ‘there is certainly something there in his soul’. Klee, meanwhile, noted in his diary: ‘Personal acquaintance [with Kandinsky] has given me a somewhat deeper confidence in him. He is somebody and has an exceptionally fine, clear mind.’ They discussed Kandinsky’s plans to establish a new society of artists and agreed to meet more often in the future.

Paul Klee (1879–1940), Zahlenpavillon (Pavilion of Numbers), 1918. Watercolour and pen and ink on paper laid down on the artist’s mount. 6 ⅜ x 3 ½ in. (16.3 x 8.9 cm.) Estimate: £200,000–300,000. This work is offered in the Impressionist & Modern Art Evening Sale on 22 June at Christie’s in London

At this time Kandinsky left the New Artists’ Association of Munich, of which he had been a founding member, to establish The Blue Rider group with his friend Franz Marc. In his role as special correspondent for the Swiss periodical Die Alpen, Klee glowingly reviewed The Blue Rider exhibition in December 1911, reserving special praise for Kandinsky. Klee soon joined the group for their second exhibition in 1912, subtitled Black and White, in which he was represented by 17 drawings.

Wassily Kandinsky (1866–1944), Esquisse pour Autour du cercle, 1940. Oil on panel. 15 ½ x 23 ⅝ in. (39.4 x 60 cm.) Estimate: £1,500,000–2,500,000. This work is offered in the Impressionist & Modern Art Evening Sale on 22 June at Christie’s in London

Throughout the years immediately preceding the First World War, the older artist made introductions on Klee’s behalf, encouraging collectors such as Arthur Jerome Eddy to purchase the young artist’s work. But at the outbreak of war Kandinsky was forced to fee Germany as an enemy alien. Although the pair met briefly in Switzerland in the summer of 1914, they would not reconnect again for almost eight years. By this time, their professional fortunes had dramatically changed.

Klee was now a widely acclaimed painter, experiencing critical and commercial success across Europe. In 1921, he was invited by Walter Gropius to become a master at the Bauhaus in Weimar, which granted him a new degree of financial security and professional standing.

Wassily Kandinsky (1866–1944), Mit und Gegen (For and Against), 1929. Oil on board. 13 ¾ x 19 ⅛ in. (35 x 48.6 cm.) Estimate: £2,000,000–3,000,000. This work is offered in the Impressionist & Modern Art Evening Sale on 22 June at Christie’s in London

Kandinsky, on the other hand, had been absent from the German art scene for a number of years, working on the reorganisation of the cultural establishment in Russia following the Revolution. After encountering the ideological limitations of the Constructivists, who rejected his subjectivism and spiritualism, he returned to Germany where he was, once again, the subject of fierce controversy. From Berlin he sent a letter to Klee at the Bauhaus, expressing his desire to see his old friend.

Just a few months later, Klee would assist Kandinsky and his wife in their move to Weimar, where Kandinsky joined the faculty of the Bauhaus. They came to know each other as colleagues and revived their tradition of exchanging small paintings and works on paper on each other’s birthdays and at Christmas.

When the Bauhaus moved to Dessau in 1926, they became neighbours again, living side-by-side in two semi-detached masters’ houses on the new Bauhaus site. Here they fell into an easy routine, working and teaching, socialising together with their wives, and taking long walks in the valley of the Elbe river.

With the rise to power of the National Socialists in 1933, Germany became a dangerous place for both artists to live

As they entered the 1930s, an increasingly complex and dangerous political climate in Germany ushered in a period of intense uncertainty and upheaval. Klee resigned from his Bauhaus position in 1931 to begin a new post at the Art Academy in Dusseldorf, while the dissolution of the school in Dessau in 1932 saw Kandinsky move to Berlin. However, with the rise to power of the National Socialists in 1933, Germany became a dangerous place for both artists to live.

Klee was dismissed from his teaching post by the authorities, and both he and Kandinsky were labelled ‘degenerate’ artists by the new government, who confiscated their works from public collections. Both fed the country, Klee moving to his hometown of Bern in neutral Switzerland and Kandinsky to Paris. They remained in contact during this time via regular letters.

Klee and Kandinsky saw each other for the last time in February 1937, when Kandinsky and his wife Nina travelled to the Swiss capital for the opening of a retrospective of his work at the Kunsthalle Bern. While there, they made a point of visiting Klee, who was largely housebound due to the debilitating illness that had plagued him since 1935. Kandinsky brought with him the watercolour Above-Below, which he dedicated ‘To my dear friend of many years’.

The two would remain close until Klee’s death in 1940, and Kandinsky continued to remember his friend in his writings for the rest of his life.