ABSTRACT
Christian von Ehrenfels and Edmund Husserl, to Martin Heidegger and
Maurice Merleau-Ponty. We begin, however, with a topic apparently even
more remote from Freud's metapsychological speculations: the paintings
would conduct a novel experiment in painting, the so-called Series paint-
ings. Beginning with the fifteen Grainstacks, exhibited in 1891, Monet
What, then, was their subject? What was it that Monet sought to realize
currents that will eventually lead us back, equipped with new resources, to our central concern with the theory of the unconscious.
