Abstract

As soon as there is a human work, one or more non-human dimensions are involved, bearing in mind that, on the other hand, it could be that the pure non-human does not exist, in other words that the non-human itself envelops the human in return. De jure, both movements should be considered from an anthropocosmic perspective. In the context of a contribution on art, however, we will focus on the first perspective, while the second is more of a "technological" approach. We will illustrate this point by focusing on the paintings of Paul Cézanne.