Merleau-Ponty, 1964. Eye and mind. - Biolinguagem

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32. Cf. note 18, above.—Trans. 33. B. Dorival, Paul Cézanne (Paris, 1948), 103ff. [H. H. A. Thackthwaite's translation (London, 1948), 101-3.] 34. Charbonnier, Le monologue, 176. 35. Delaunay, Du cubisme, 109. 36. F. Novotny, Cézanne und das Ende der wissenschaftlichen Perspective (Vienna, 1938). 37. W. Grohmann, Paul Klee (Paris, 1954), 141. [New York, 1956.] 38. Delaunay, Du cubisme, 118. 39. Klee, Journal. French trans. P. Klossowski (Paris, 1959). 40. George Schmidt, Les aquarelles de Cézanne, 21. [The Watercolors of Cézanne (New York, 1953).] 41. Klee, Journal. 42. "The spectacle is first of all a spectacle of itself before it is a spectacle of something outside of it." — Translator's note from Merleau-Ponty's 1961 lectures. 43. C. P. Bru, Esthétique de l'abstraction (Paris, 1959),99,86. 44. Henri Michaux, Aventures de lignes. 45. Ibid. 46. Ravaisson, cited by Bergson, "La vie et l'oeuvre de Ravaisson," in La pensée et le mouvant (Paris, 1934), 264-65. [The passage quoted here is from M. L. Andison's translation of that work, The Creative Mind (New York, 1946), 229. It remains moot whether these are Ravaisson's or da Vinci's words.] 47. Bergson, ibid. 48. Michaux, Aventures de lignes. ["laissé rêver une ligne."] 49. Ibid. ["d'aller ligne."] 50. Grohmann, Paul Klee, 192. 51. Rodin, L'art. Interviews collected by Paul Gsell (Paris, 191I). 52. Ibid., 86. Rodin uses the word "metamorphosis," quoted below. 53. Michaux, Aventures de lignes. 54. Cited by Delaunay, Du cubisme, 175. 55. Rilke, Auguste Rodin, French translation by Maurice Betz (Paris, 1928), 150. [English translation by Jessie Lamont and Hans Trausil (New York, 1919; republished 1945).] 56. Delaunay, Du cubisme, 1I5, 110. 57. Ibid. 22
58. Ibid. 59. Klee, Conférence d'Iena (1924), according to Grohmann, Paul Klee, 365. 60. Klee, Wege des Naturstudiums (1923), as found in G. di San Lazzaro, Klee. 61. Klee, cited by Grohmann, Paul Klee, 99. 62. A. Berne-Joffroy, Le dossier Caravage (Paris, 1959), and Michel Butor, "La Corbeille de I'Ambrosienne," Nouvelle Revue Française (1959), 969-89. 63. Klee, Journal. ["Je suis insaisissable dans l'immanence."] 64. G. Limbour, Tableau bon levain à vous de cuire la pâte: L'art brut de Jean Dubuffet (Paris, 1953), 54-55. 65. "Mais cette deception est celie du faux imaginaire, qui. . . " * [From Maurice Merleau-Ponty, The Primacy of Perception, ed. James M. Edie, trans. Carleton Dallery, Evanston: Northwestern University Press, 1964. Revised by Michael Smith in The Merleau-Ponty Aesthetics Reader, Galen A. Johnson, ed., Evanston: Northwestern Univ. Press, 1993.] 23
Page 1 and 2: Eye and Mind * Maurice Merleau-Pont
Page 3 and 4: would vision be without eye movemen
Page 5 and 6: that a painter comes into full poss
Page 7 and 8: draws my flesh into the outer world
Page 9 and 10: its envelope. If he had examined th
Page 11 and 12: cannot come to it by some intrusion
Page 13 and 14: IV The entire history of painting i
Page 15 and 16: geometry of the tiles, then I would
Page 17 and 18: successful instantaneous glimpses o
Page 19 and 20: Limbour, "whose charms withered awa
Page 21: 15. "A minute in the world's life p

Merleau-Ponty, 1964. Eye and mind. - Biolinguagem

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