The essay analyzes the deep interrelation between literature and painting (as regards both the semantic and the structural-formal level) in the last four novels by Azorin (Capricho, 1943; Maria Fontan, 1944; La isla sin aurora, 1944; Salvadora de Olbena, 1944), most influenced by various painters who were very familiar to the writer, such as Velazquez, Rembrandt, Rodin, CeĢzanne. The essay aims at showing that the presence and the use of ekphrasis in these novels is fundamental because it is profoundly linked with Azorin's own poetics.
