The present paper determines textual and visual representational correspondences between the artistic domains of literature and visuality in the ekphrastic interpretation of writer Piero Bigongiari, through which are defined and illuminated various aspects of figurality in the resonance with his own poetics, in addition to outlining the philosophical vein permeating the discourse in its arborescent structuring. Since in the physiognomy of Bigongiari's writings is inscribed interartistic transposition forming its constant matrix, in this paper the focus is established on fruitful comparisons due to equivalences between two fields of art, together with exemplifying the resulting interdisciplinary convergences, which then become usable in various social contexts, bringing to innovative theoretical philological and cultural insights. In analyzing the modalities according to which takes place literalization as the transformation of pictorial fact into poetical stance, highlighted are the author's volumes in which the guiding threads are constituted by art criticism in relation to literature. Within the corpus of Bigongiari's texts, the double essayistic and journalistic register will therefore be explored, maintaining an elaborate literary expression, and having cultural allure. At the same time, derivational forms such as diaristic notes will be underscored, deducible from intrinsic discursive traits. Literary cognitions therein are characterized by going beyond interart suggestiveness and giving immediately a metaphoric reading of the paintings. In such light will be observed Bigongiari's illustration of salient iconographic trends, by taking into consideration also his observations on pictorial tendencies and aesthetic concepts imbued with personal reminiscences and remarks belonging to the sphere of science. Artworks as written paintings of the real will thus be elaborated, pointing to the character of art in its pluridisciplinary nature in Bigongiari's literary vision. Likewise, Bigongiari's interest in the symbology of the paintings will be traced to his poetry and correlated to his translational activities. From that perspective, the poeticity of Bigongiari’s study of visual arts will be explicated. Concomitantly, the ways in which lyrical imagery and self-reflexivity get reconceptualized within his literary prosastic production will be discerned, inducing further literary typification, contributing modern art historical examples such as symbolist lyricism evocative of cubism or impressionism with artistic relays regarding abstract art and art informel.