In this essay, look at influence of Jack Yeats's paintings of 1930s and 40s on Beckett's Texts for Nothing written in 50s. examine how Beckett's perception of Yeats's portrayals of figures in urban and rural landscape resonates with Beckett's own portrayals.Dans cet essai, je verifie l'influence qu'ont pu exercer les tableaux de Jack Yeats (des aimees 1930 et '40) sur les Textes pour rien que Beckett ecrits dans les aimees '50. J'examine comment Beckett percoit les portraits de figures que Yeats place dans le paysage urbain et rural et dans quelle mesure ils trouvent un echo dans les portraits qu'elabore l'auteur.As James Knowlson pointed out in Damned to Fame, Beckett keenly interested in paintings and painters. Now that first two volumes of Beckett's letters are published, especially through letters written between 1930 and 1937 to his friend Thomas McGreevy, we can follow Beckett's thoughts on art. In his studies of Romantics such as John Constable and J. M. W. Turner, Beckett understood landscape to be portrayed as interacting with humanity, either to protect or destroy it. As he writes to McGreevy, for Constable, the landscapes shelters or threatens or serves or destroys, his nature is really infected with 'spirit', ultimately as humanised & romantic as Turner's was (SB to TM, 14 Aug. 1937; 2009, 540). In contrast, in Beckett's studies of paintings of Expressionists such as Edvard Munch and Emil Nolde, he understood landscape to be expressing same emotions as humans in it. However, he admired Paul for portraying landscape which separate from humanity: Cezanne seems to have been first to see landscape & state it as material of strictly peculiar order, incommensurable with all human expressions whatsoever (SB to TM, 8 Sept. 1934; 2009, 222). For Beckett, he conveyed landscape that not concerned with humanity and humanity that could not have any affinity with landscape. Rather than this being negative concept, Beckett saw it as an affirmation of truth that he felt himself. As he writes to McGreevy few days later, I do not see any possibility of relationships, friendly or unfriendly, with unintelligible (SB to TM, Sunday [16 Sept. 1934]; 2009, 227). Also, he writes: What relief Monte Ste. Victoire after all anthropomorphised landscape [...], after all landscape promoted to emotions of hiker, postulated as concerned with hiker (SB to TM, 8 Sept. 1934; 2009, 222). Further, in same letter, as well as applauding fact that sees no emotional connection between landscape and human, Beckett approves of his depiction of landscape that is itself insensible, completely lifeless, stonelike, an atomistic landscape with no velleities of vitalism.Yeats's and Beckett's Two Solitudes: Landscapes and Figures UnrelatedBeckett's relationship with Jack B. Yeats's landscapes and figures more personal one than his relationship with Cezanne's. Beckett met Jack Yeats in 1930 (introduced by McGreevy), visited him regularly throughout 1930s and 40s and greatly admired his paintings, even buying A Morning (1935-1936), Corner Boys (1910) and Regatta Evening (1944).1 In letter to McGreevy dated 3 February 1931, Beckett writes: Last Saturday went with Pelorson to see Jack Yeats. He alone and we had two delightful hours looking at lot of pictures we had not seen and talking (2009, 65).What Beckett admired in Jack Yeats's paintings of 1930s and 40s juxtaposition, not linkage, of landscape and figures - that his figures were totally isolated from each other and from nature, and landscape impersonal and indifferent to creatures in it, a painting of pure inorganic juxtapositions, where nothing can be taken or given & there is no possibility of change or exchange (SB to TM, 14 Aug. 1937; 2009, 540; see also Oppenheim, 112). …