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  • В оке Сезанна, в духе Мерло-Понти: диалектика видимого и видящего в пейзажах, натюрмортах и портретах
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October 30, 2026
‘This Format Turned Each Presentation Into a Collaborative Effort to Assess the Robustness of the Study
On October 16, 2026, HSE ICEF hosted the Eighth International Conference on Applied Economics. Held fully on-site, the conference brought researchers from HSE University, the New Economic School, Wuhan University, and Shandong University together in Moscow. The programme was organised around three overarching themes— ‘Environment, Resources and Policy,’ ‘Migration, Labour, and Communication,’ and ‘Consumption, Behaviour, and Climate—offering an opportunity to see how similar economic mechanisms operate in China, Pakistan, the United States, and Russia.
October 23, 2026
‘I Always Conduct Research on Topics That Genuinely Matter to Me
Anastasiia Deeva studies the socio-economic consequences of excess weight in Russia. In an interview for the Young Scientists of HSE University project, she spoke about why beauty cannot be measured, her desire to write a novel, ‘Dostoevskian’ burnout, and working at the hotel where The Shining was filmed.
October 19, 2026
'Cultural Studies Seeks to Understand What Lies Beneath the Surface of Everyday Things'
Maxim Zhiganov has been exploring different aspects of sound for many years—first in relation to his native Perm and then on a broader, global scale. In this interview for the HSE Young Scientists project, he talks about sound maps, the special issue of the journal Logos, and why it is important to make the familiar less clear and obvious.

 

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В оке Сезанна, в духе Мерло-Понти: диалектика видимого и видящего в пейзажах, натюрмортах и портретах

Философия. Журнал Высшей школы экономики. 2025. Т. 9. № 3. С. 303–331.
Жуматина М.-С. Д.

The article analyzes the painting of Paul Cézanne through the fundamental relationship seeing-seen (voyant-visible), set out in the phenomenological teaching of Maurice Merleau-Ponty and conceptualized by us as the “dialectic of the seeing-seen”. For Merleau-Ponty, Cézanne had a special status as a “painter of painting”: the phenomenology of visible of Merleau-Ponty and his interpretation of Cézanne’s works are built on each other. However, the philosopher himself and researchers did not systematically superimpose the dialectic of seeing-seen on Cézanne, which is why our article is the original extension of the work of Merleau-Ponty himself. The proposed approach is interdisciplinary, since in addition to the apparatus of the phenomenology of visible itself, it also uses art history formal analysis. We consider the origins of the special status of Cézanne’s painting for Merleau-Ponty through the artist’s works themselves and offer the extension of Merleau-Ponty’s interpretation of the philosophical content of his painting. We apply the dialectic of seeing-seen both to painting as an artifact and to the act of painting itself in relation to (i) how the artist sees and (ii) what exactly he sees. We distinguish three areas of the visible in painting (nature, an artifact, and the Other) on the basis of Merleau-Ponty’s phenomenology and note that they resonate with three painting genres: landscape, still life, and portrait. We also, in the spirit of the phenomenology of visible, conceptualize, on the basis of Cezanne’s painting, two poles of painting vision: “gestalt-inarticulate” and “formed-naming”.

Research target: Philosophy, Ethics, and Religious Studies
Language: Russian
DOI
Keywords: живописьportraitпортретМерло-Понтиlandscape paintingMerleau-Pontyпейзажabstract paintingCézanneseeing-seen (voyant-visible)eyephenomenology of visibleСезаннвидящее и видимое (voyant-visible)глазфеноменология ви́дения
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