Although we do not have it in daily consideration, the origin of the painting goes back to manifest the first communicative acts that we have of our ancestors. This fact reveals the power that the manifestation of the body has been able to grant to the human being so that the corporeal expressive act means unveiling a certain message. To analyze this phenomenon, this article examines the work of the French philosopher Maurice Merleau-Ponty, who makes possible an analysis of the pictorial act offering a theoretical tool unprecedented from his in his phenomenological analysis of The Visible and the Invisible. With this, the scrutiny of primitive painting will mean entering to the powers of phenomenology to explain the power of pictorial expression from its beginnings and how it is possible to understand it as an incomparable vestige in the link between body and world.
Medina Cisternas, S. (2021). Painting: the vestige of the body in movement. Resonancias. Revista De Filosofía, (10), 89–101. https://doi.org/10.5354/0719-790X.2021.60943
