  Heidegger later described this phenomenon as “the tension of emerging and not emerging,” and it is central to his remarks on the painting of Cézanne and  Klee.[59] As Young nicely shows, Heidegger especially admired Klee’s later works, such as “Saint from a Window” (1940), in which the eponymous image in the foreground barely manages to emerge from the muted cacophony of other images half-suggesting themselves from the  background.[60] Here the tension between emerging and withdrawing is almost as palpable as the central figure, which seems to be disappearing back into the subtly dynamic background from which other figures continue to suggest themselves. In a note he made beneath a sketch of Klee’s “Saint from a Window,” Heidegger asks: “If one erases the ‘image’-character [from a picture], what [is left] to ‘see’?” He answers in another note by quoting Klee himself: “The inner structure organizing the picture itself thus begins to come to the fore—and come toward truth, coûte que coûte [whatever the  cost].”[61] For Heidegger, to put it simply, Klee’s late paintings preserve the phenomenological struggle of emerging and withdrawing, and so bring the usually inconspicuous tension between foreground and background itself to the fore, thereby offering us a glimpse of the underlying structure hidden within all art. This phenomenological “tension of emerging and not emerging” that Heidegger finds in Klee and Cézanne, however, he first discovered in Van Gogh’s painting of “A Pair of Shoes,” specifically, in the way Van Gogh’s painting manifests what “The Origin of the Work of Art” famously calls “the essential strife” between “earth and world” (PLT 49/GA5 35).