English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article looks closely at one of Paul Cézanne’s portraits of Vallier painted the last year of his life to examine how his (“fugitive”) vision works through his use of colors. The French philosopher Maurice Merleau-Ponty, who in his phenomenology views the body as the primary locus of having and therefore knowing the world, emphasizes the vital role of the body of the artist that must be offered to the world in order to truly manifest the world in painting. It is no wonder that Cézanne’s artwork and thought are stitched into the structure of Merleau-Ponty’s aesthetics in his essay “Eye and Mind,” for Cézanne’s painting bears witness to his own account of aesthetic experience. Merleau-Ponty’s emphasis on the lived vision that seeks the depth of Being, the lived qualities of the visible world, takes Cézanne’s vision manifested in his portrait of Vallier further to see where the painting as well as Cézanne himself stand in relation to the visible world.

Seeing The Gardener Vallier : Cézanne and Merleau-Ponty’s Aesthetics of Doubt