Abstract
Beckett's dominant interest in visuality in his late plays is well documented by now. So is his knowledge about some representatives of Gestalt psychology. This article concentrates on Beckett's relationship to both the visual arts and psychology and takes as examples stories from More Pricks Than Kicks and the later plays, in particular Catastrophe. Beckett's relationship to the fine arts and his deep interest in contemporary avant-garde painting and sculpture are manifested in his art criticism, notably Three Dialogues (with Georges Duthuit) and Les Peintres de L'empechement (Beckett 1983) and by his friendship with artists like Jack B. Yeats, the brothers Van Velde (Bram and Geer) and Alberto Giacometti. His taste in painting was avant-garde as Vivian Mercier remarks:
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