Editing Paul Cézanne (section)

===Cézanne and philosophy===
The French philosopher [[Jean-François Lyotard]] argues in his work ''Misère de la philosophie'', that Cézanne has, so to speak, the sixth sense: he senses the reality in the making before it is completed in normal perception. So the painter touches on the sublime when he sees the overwhelming quality of the mountainous landscape, which can neither be represented with normal language nor with the usual painting technique. Lyotard sums it up: "One can also say that the uncanniness of the oil paintings and watercolours dedicated to mountains and fruits derives both from a deep sense of the disappearance of appearances and from the demise of the visible world."<ref>{{cite web|title=Ergänzung zum philosophischen Hauptwerk – Jean-Francois Lyotard: "Das Elend der Philosophie"|periodical=|publisher=Deutschlandfunk|url=http://www.dradio.de/dlf/sendungen/buechermarkt/334280/|url-status=live|format=|access-date=8 August 2008|archive-url=https://web.archive.org/web/20070216232140/http://www.dradio.de/dlf/sendungen/buechermarkt/334280/|archive-date=16 February 2007|last=Klaus Englert|date=|year=|language=|pages=|quote=}}</ref>

Cézanne's stylistic approaches and beliefs regarding how to paint were analyzed and written about by the French philosopher [[Maurice Merleau-Ponty]] who is primarily known for his association with phenomenology and [[existentialism]].<ref>{{cite encyclopedia |url=http://www.iep.utm.edu/merleau/ |title=Maurice Merleau-Ponty (1908—1961) |encyclopedia=Internet Encyclopedia of Philosophy |publisher=Iep.utm.edu |archive-url=https://web.archive.org/web/20110825170922/http://www.iep.utm.edu/merleau/ |archive-date=25 August 2011 |url-status=live }}</ref> In his 1945 essay entitled "''Cézanne's Doubt''", Merleau-Ponty discusses how Cézanne gave up classic artistic elements such as pictorial arrangements, single view perspectives, and outlines that enclosed colour in an attempt to get a "lived perspective" by capturing all the complexities that an eye observes. He wanted to see and sense the objects he was painting, rather than think about them. Ultimately, he wanted to get to the point where "sight" was also "touch". He would take hours sometimes to put down a single stroke because each stroke needed to contain "the air, the light, the object, the composition, the character, the outline, and the style". A still life might have taken Cézanne one hundred working sessions while a portrait took him around one hundred and fifty sessions. Cézanne believed that while he was painting, he was capturing a moment in time, that once passed, could not come back. The atmosphere surrounding what he was painting was a part of the sensational reality he was painting. Cézanne claimed: "Art is a personal apperception, which I embody in sensations and which I ask the understanding to organize into a painting."<ref>Merleau-Ponty 1965</ref>