Abstract
In order to present visual art as a paradigm for philosophy, Maurice Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasizing process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, in his late work Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in parallel with his advancement of a new ontology. In this article I focus on the materiality of Merleau-Ponty’s work in progress through an examination of his unfinished manuscript and working notes in the Bibliothèque national de France (BnF) in Paris. Through a reflection on the potential of these archive documents to reveal new insights into his working processes, I establish a connection to Merleau-Ponty’s own embodied thought mechanisms to uncover comparative methods of enquiry to those used in drawing practice.
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