This chapter demonstrates the affinity between philosophy and art, or between concepts, by taking the examples of Marcel Proust and Francis Bacon. It specifically refers to literature and painting. Gilles Deleuze's thought matured between the plane of explication and that of complication, between the first and the second edition of Proust and Signs. The figures in Bacon's paintings always fall short of a complete dissolution. His work is irreducible to the various artistic tendencies that have been sketched so far. Wilhelm Worringer determines a type of non-organic vitality in art, especially in northern European medieval art. Deleuze opposes the realism of deformation. Essence is nothing spiritual, but a material force or an energy emanating from a thing or a person. It is this ‘abbreviation into intensity’ that Bacon has sought to produce.
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