Francis Bacon

Translator's Preface, by Daniel W. Smith Preface to the French Edition, by Alain Badiou and Barbara Cassin Author's Foreword Author's Preface to the English Edition 1. The Round Area, the Ring The round area and its analogues - Distinction between the Figure and the figurative - The fact - The question of "matters of fact" - The three elements of painting: structure, Figure, and contour - Role of the fields 2. Note on Figuration in Past Painting Painting, religion, and photography - On two misconceptions 3. Athleticism First movement: from the structure to the Figure - Isolation - Athleticism - Second movement: from the Figure to the structure - The body escapes from itself: abjection - Contraction, dissipation: washbasins, umbrellas, and mirrors 4. Body, Meat, and Spirit, Becoming-Animal Man and animal - The zone of indiscernibility - Flesh and bone: the meat descends from the bone - Pity - Head, face, and meat 5. Recapitulative Note: Bacon's Periods and Aspects From the scream to the smile: dissipation - Bacon's three successive periods - The coexistence of all the movements - The functions of the contour 6. Painting and Sensation Cezanne and sensation - The levels of sensation - Figuration and violence - The movement of translation, the stroll - The phenomenological unity of the senses: sensation and rhythm 7. Hysteria The body without organs: Artaud - Worringer's Gothic line - What the "difference of level" in sensation means - Vibration - Hysteria and presence - Bacon's doubt - Hysteria, painting, and the eye 8. Painting Forces Rendering the invisible: the problem of painting - Deformation: neither transformation nor decomposition - The scream - Bacon's love of life - Enumeration of forces 9. Couples and Triptychs Coupled Figures - The battle and the coupling of sensation - Resonance - Rhythmic Figures - Amplitude and the three rhythms - Two types of "matters of fact" 10. Note: What Is a Triptych? The attendant - The active and the passive - The fall: the

Gilles Deleuze