Another telling sign of Cézanne’s influence on later French phenoms is the following. Phenoms make it their life project to unite permanence (objectivity) with experience (subjectivity). Cézanne was stretching for the same.
“…and his contention that he was recreating Poussin ‘after nature’ underscored his desire to unite observation of nature with the permanence of classical composition.”
“Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials…” (By the way, this quote is almost the definition of “eidetic reduction.” Phenoms do it in words, Cézanne did in art.)
Camille Pissarro is another I’ll be exploring. He was Cézanne’s most powerful influence, like a father to him. Cézanne moved beyond impressionism to whatever you call his “not mere appearance, but the appearance of something given in appearance.” But I will explore Pissarro as the influence on the influence of Merleau-Ponty.
The following caught my eye. I’ve been reading about Paul Cézanne’s influence on the later French phenomenology movement. Merleau-Ponty often refers to him. I posted a paper below about Cézanne’s influence on the French phenoms. The following did it for me. If you were to substitute “words” for “paint” and “phrases and metaphors” for “simple forms and colour planes,” you would have a statement of Merleau-Ponty’s French phenomenology.”
Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement ‘I want to make of impressionism something solid and lasting like the art in the museums…'”