An Analysis on “Painting As Image” Based on Deleuze’s Explanation of the Types of Images and Correlated Conditions of Their apparition

Document Type : Research Article


Assistant professor, Art studies department, art faculty, Semnan university, Semnan, Iran.


Problem statement: The question of the research is: what are the types of images and their correlated conditions of apparition in Deleuze’s ideas?
Research method: The research method is qualitative content analysis.
Research objective: The purposes of the article are to clarify two types of image, the conditions of their apparition as well as to determine the type of image of a painting in accordance with its conditions. It is assumed that determining the conditions of their apparition helps to determine its type. So, to clarify the types of images, the conditions of their apparition are studied. A painting by a contemporary Iranian artist has been reexamined for explanation of the issue.
Conclusion: For Deleuze, there are two types of images: the movement-image and time-image. Movement-image is comprised of perception-image, action -image and affection- image. Time-image is also composed of recollection-image, dream-image, the thought-image also crystal-image. The first type of image focuses on moving, controlling and reflecting, absorbing the effects of things, depending on particular actions. In modern period the time-image is the basis of the genesis of pure time. The time-image is the type of image with a coalescence of virtual and real images formed by the axis of time on the basis of the genuine relations of forces and their affects. It is formed by the spontaneous activity of diagram through the indiscernible and indeterminate zones that is impossibility. the research path shows the condition of apparition of painting as image, like “Untitled” that are based on color-force, color-space, color-light, and time according to color relations. These conditions, show the arrangement of the coalescence of the actual image of the human being around the artist with the virtual image of ascension to emphasize the status of the contemporary man.The final image as time-image brings about the possibility to think about the new meaning to the concept of man.


AbdolKarimi, B. (2012). Heidegger and Transcendece a Commentary of Heidegger’s Interpetation of Kant‬. Tehran: qoqnoos.
Afarin, F. & Mousavilar, A. (2015). Deleuze on Rhythm and Ontology in Painting With emphasis on aesthetics. Journal of Recognition, 8(1), 7-30.
Ahmadi, Sh. & Khayam, H. (2011). Roham Ragheb Ast Ama Jesmam Natavan [My Soul is Good, But My Body Is Weak]. Art of Tomorrow, Journal of Contemporary Art, (28), 120-122.
Ahmadi, Sh. & Morizi Nejad, H. (2012). Atelye Gardi [Atelier] (interview). Tandis, (223), 10-12.
Bruns, G. L. (2009). The Concepts of Art and Poetry in Emmanuel Levinas’s Writings. (Sh. Waghafipour, trans.). Zibashenakht, 10(21), 217-245.
Deleuze, G. (1978). Courses on Kant. Retrieved September 25, 2018, from
Deleuze, G. (1981/03/31). Cours du peinture. transcription: Cécile Lathuillère et Szarzynski Eva. Retrieved March 20, 2018, from
Deleuze, G. (1986). Cinema 1: The Movement-Image. London: The Athalone Press.
Deleuze, G. (1989). Cinema 2: The Time- image. London: Continuum.
Deleuze, G. (1994). Difference and Repetition. London & New York: Continuum.
Deleuze, G. (1998). Proust et Les Signes. Paris: Puf.
Deleuze, G. (2003). Francis Bacon: The Logic of Sensation. London & New York: Continuum.
Deleuze, G. (2017). Human and Modern Time- Consciousness, Courses of Deleuze on Kant, (A. Vaezi, trans.). Tehran, Hermes.
Mashayekhi, A. (2013). Deleuze, idea, time. Tehran: Bidgol.
Nasri, A. (2018). Nashamayel Shenasi-ye Georges-Didi Huberman dar Tasvir va Kalame: Roykard-ha-ei be Shamayel Shenasi [Non-iconology of Georges-Didi Huberman. In Image and Word: Approaches to Iconology]. Tehran: Cheshmeh Publication.
Rancière, J. (2015). The Future of the Image. (F. Akbarzadeh, trans.). Tehran: Omid-e Sab.
Zourabichvili, F. (1994). Deleuze, Une Philosophie de L’événement. Paris: Puf.