作為法國當今最為著名的一個現象學家，馬里翁對現象學的一系列基本問題都進行了全新的探討，其中就包括繪畫問題。他以繪畫的現象性（顯現方式）問題為核心，批判了海德格爾的繪畫觀念，揭示出繪畫本身並不首先和最終顯現為存有者，從而服務於存有者真理的顯現，而是作為事件純粹地自身顯現和自身發生。他認為，繪畫作為事件的自身顯現就是顯現為純粹的效果，這種效果就其本質而言是純粹的被給予物。由此，繪畫的現象性並不是存有性，而是被給予性。綜觀馬里翁的分析，一方面，由於其在意義上的開放性，被給予性會解放繪畫顯現的可能性；另一方面，由於其神學解釋學傾向，被給予性也可能會給繪畫顯現帶來新的限制。

As one of the most famous phenomenologists in France today, Jean-Luc Marion has conducted a brand new discussion on a series of basic problems in phenomenology, including the problem of painting. Centering on the issue of the phenomenality (the way of appearing) of painting, he criticizes Heidegger’s idea of painting, and reveals that the painting as such does not first and finally appear as the being which would serve the manifestation of the truth of beings, rather it self-appears and self-happens purely as the event. He argues that the self-appearing of painting as the event is to appear as the pure effect, which is the pure given in essence. Therefore, the phenomenality of painting is not the beingness, but the givenness. Reflecting on Marion’s analysis, it can be seen that, on the one hand, the givenness will liberate the possibilities of painting’s appearing due to its openness in meanings; on the other hand, the givenness may also bring new limits to painting’s appearing due to its tendency of theological hermeneutics.