Abstract

The concept of athleticism seems, at first glance, to be a minor component of Deleuze's analysis in Francis Bacon, appearing by name in the text only six times. In this article, I draw out the close link between athleticism and Deleuze's fundamental concept of intensity, arguing that this ostensibly minor term is in fact central to his account of the ‘clear and durable sensation’ produced by Bacon's painting. In tracing links between athleticism, Deleuze's aesthetic concept of ‘the fall’, and his reliance on and critique of Kant's theory of intensive magnitudes, I show that athleticism in Francis Bacon names the form of intensity proper to painting.