Merleau-Ponty borrows “being-in-the-world” from Heidegger but is not passive in the face Heideger’s thoughts. He uses the subject of being-in-the-world to explain perception and embodiment. Heidegger’s Dasein and the embodiment subject of Merleau-Ponty are thrown into the world. This means that the world is not equal to the object of human thought, and man is thrown into the world before contemplation and reason, and understands the world directly. Artists reveal the world through being-in-the-world and physical action. To Cézanne’s paintings, the intersection of Heidegger and Merleau-Ponty’s thought is for pre-rational thought, because painting is not separate from the world. In this article, an attempt has been made to consider the similarities and differences in the world-existence of Heidegger and Merleau-Ponty through attention to Cézanne’s paintings. The results of this study shows that Merleau-Ponty has a conception of being-in-the-world and, consequently, a bodily being, which in some cases it contradicts Heidegger’s understanding, but both philosophers confirm Cezanne’s the role of works in the phenomenon of the world.