Triptych: Francis Bacon – Gilles Deleuze – D.H. Lawrence
What is painted is the sensation. There is a beauty to these entangled Figures. They do not merge with each other, but are rendered indiscernible by the extreme precision of the lines, which acquire a kind of autonomy in relation to the body, like a diagram whose lines would bring together nothing but sensations. There is one Figure common to two bodies, or one "fact" common to two Figures, without the slightest story being narrated. (Francis Bacon: The Logic of Sensation 55-56)
So the two men began to struggle together. They were very dissimilar. Birkin was tall and narrow, his bones were very thin and fine. Gerald was much heavier and more plastic. His bones were strong and round, his limbs were rounded, all his contours were beautifully and fully moulded. He seemed to stand with a proper, rich weight on the face of the earth, whilst Birkin seemed to have the centre of gravitation in his own middle. And Gerald had a rich, frictional kind of strength, rather mechanical, but sudden and invincible, whereas Birkin was abstract as to be almost intangible. He impinged invisibly upon the other man, scarcely seeming to touch him, like a garment, and then suddenly piercing in a tense fine grip that seemed to penetrate into the very quick of Gerald’s being.
[. . .] So the two men entwined and wrestled with each other, working nearer and nearer. Both were white and clear, but Gerald flushed smart red where he was touched, and Birkin remained white and tense. He seemed to penetrate into Gerald's more solid, more diffuse bulk, to interfuse his body through the body of the other, as if to bring it subtly into subjection, always seizing with some rapid necromantic foreknowledge every motion of the other flesh, converting and counteracting it, playing upon the limbs and trunk of Gerald like some hard wind. [. . .]
So they wrestled swiftly, rapturously, intent and mindless at last, two essential white figures ever working into a tighter, closer oneness of struggle, with a strange, octopus-like knotting and flashing of limbs in the subdued light of the room; a tense white knot of flesh gripped in silence between the walls of old brown books. Now and again a sharp gasp of breath, or a sound like a sigh, then the rapid thudding of movement on the thickly-carpeted floor, then the strange sound of flesh escaping under flesh. Often, in the white, interlaced knot of violent living being that swayed silently, there was no head to be seen, only the swift, tight limbs, the solid white backs, the physical junction of two bodies clinched into oneness. Then would appear the gleaming, ruffled head of Gerald, as the struggle changed, then for a moment the dun-coloured, shadow-like head of the other man would lift up from the conflict, the eyes wide and dreadful and sightless. (Women in Love 269-70)