Abstract

In his late works, Maurice Merleau-Ponty attempts to show the direction for the development of a new phenomenology. While analysing the intertwining of the visible and the invisible, he raises a question about the way we participate in Being. For Merleau-Ponty, experiencing a work of art is a representative example of our participation in the flesh (la chair). This article will analyse the broadly understood idea of visibility in art and its ability to transcend its apparent aesthetics into its invisible side, which is the source of all appearance and self-knowledge of existence.