梅洛-庞蒂《塞尚的怀疑》一文涉及“本真”与“自由”两大议题。文章的前半部分对塞尚绘画进行了现象学式的分析，出于对真实的要求，塞尚远离了印象派而力图返回非人的自然基底，呈现物的原初样态。在对本真之自然的表达中，塞尚的作品具有自立的意义，与塞尚的人生无涉。文章的后半部分指出画家无法与自己的处境相分离，但处境并不决定创作，而是以征兆的方式显现于作品之中。通过原初的表达活动，画家实现自己的自由，同时并不割断处境与自身的联系。文章前后看似悖反的论述之间分享着共同的理论基底，塞尚在绘画中把握到的本真之自然与塞尚何以实现一种处境规范下的自由都关联到梅洛-庞蒂基于知觉的现象学的根本认识——人通过身体生存于世，在认识形成之前人就已经通过身体与世界发生关联，进行原初的表达。通过对自组织的前意识表达的发现和对人基于身体的实践的强调，梅洛-庞蒂的现象学克服胡塞尔意识哲学和海德格尔真理观的局限，可以勾连到他自身的马克思主义论述之中。

Merleau-Ponty's essay "Le Doute de Cézanne" deals with the two main topics of "truth" and "freedom". In the first half of the article, Cézanne's paintings are analyzed phenomenologically. Out of the demand for authenticity, Cézanne turned away from Impressionism and tried to return to the base of inhuman nature and present the original state of things. In the expression of the true nature, Cézanne's works have a self-supporting meaning, which has nothing to do with Cézanne's life. The second half of the article points out that the painter cannot separate himself from his own situation, but the situation does not determine the creation, but appears in the work as an emblem. Through the original activity of expression, the painter realizes his own freedom, while not isolating himself from his situation. A common theoretical basis is shared between the seemingly contradictory discourses of the article. The true nature that Cézanne grasped in his paintings and how Cezanne realized freedom under the situational norms are all related to Merleau-Ponty's fundamental understanding of phenomenology of perception that people live in the world through the body. Before the formation of cognition, people have been connected with the world through the body and carried out the original expression. Through the discovery of self-organized pre-consciousness expression and the emphasis on human's body-based practice, Merleau-Ponty's phenomenology overcomes the limitations of Husserl's philosophy of consciousness and Heidegger's view of truth, and can be linked to his own Marxist discourse.