In some twenty-five books written between 1953 and 1993, the French philosopher Gilles Deleuze enunciated a body of thought that touched on a dizzying number of subjects, ranging from embryology, ethology, mathematics, and physics to economics, anthropology, linguistics, and metallurgy. Among the areas to which he most frequently turned were the arts, especially in the fifteen years preceding his death in 1995. He wrote books on Proust (1964, revised and expanded in 1970 and 1976), on the nineteenth-century novelist Leopold Sacher-Masoch (1967), and on Kafka (1975), as well as a final collection of literary essays titled Essays Critical and Clinical (1993), and references to literature abound in The Logic of Sense (1969), Difference and Repetition (1969), Anti-Oedipus (1972), and A Thousand Plateaus (1980). In Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985), he developed an elaborate taxonomy of cinematic images and signs that drew examples from hundreds of films representative of all eras and major tendencies of world cinema. The arts of music and painting he addressed in A Thousand Plateaus, and in Francis Bacon: The Logic of Sensation (1981) he sketched the outlines of a general theory and history of painting in the course of a close examination of Bacon’s art.