Abstract

The project of returning back to the original roots of the phenomenal being and of penetrating into its depths was initiated by painting, namely by Paul Cézanne and his new aesthetics of expression. Cézanne's approach was later adopted by his admirer Maurice Merleau-Ponty, who contributed to it mainly by his invisible dimension of the thought. The close relation between Cézanne's painting and Merleau-Ponty's philosophical work, which in a way transforms the paintings into the words of an elocative language, is the evidence of the bonds existing between philosophy and the works of art