SENSE MAKING ITSELF: MERLEAU-PONTY AND THE RHYTHM OF EXPRESS ION IN PAINTING

This paper aims to carry out a philosophical interpretation around the structure of the meaning of the work of art, from the point of view of Merleau-Ponty, starting from his criticism of the notion of perspective and representation to, on the other hand, differentiate it from modern art, which is committed to a return to the primordial world (the case of the painter Paul Cezanne). Finally, we conclude with an interpretative proposal on what this original return of art means for the author, which, more than being a historical and chronological return, means, as it will be shown, returning to the acting and operating principle of the work, which we define as a "sense being made", precisely because we see it structure and update itself as a differentiating rhythm.