Embodied Subjectivity in Cézanne’s Late Paintings ()
ABSTRACT
This study aimed at the transformative artistic
approach of the renowned French painter Paul Cézanne during his later years,
emphasizing a departure from conventional cognitive conventions in painting.
Cézanne’s shift towards highlighting the
structuring of visual impressions over mere observation aligns with the philosophy of Maurice Merleau-Ponty’s
phenomenology, which places the
embodied subject at the core of perceptual experience. The argument
presented here centres on how embodied subjectivity, as employed in
phenomenological research methods, facilitates a deeper understanding of the
imaginative abstraction in Cézanne’s late paintings. In doing so, this paper
contributes to a deeper comprehension of post-impressionist art and underscores
the significance of the theory of embodied subjectivity in artistic
interpretation. This reciprocal relationship establishes a distinctive approach
to artistic thinking and research grounded in
essential cognition and direct intuition, enriching the understanding of
Cézanne’s late paintings, and advancing the discourse on art perception.
Share and Cite:
Yuan, Y. (2024) Embodied Subjectivity in Cézanne’s Late Paintings.
Art and Design Review,
12, 95-104. doi:
10.4236/adr.2024.121007.
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