The relation between poetry and painting seems to be linked to the imagination, suggestion and inspiration itself, dedicated to the artistic and aesthetic vision of both arts, as they both strive for inspiration, comparisons and spiritual healing, which comes from moments of revelation and dominance, and entering the unknown, arriving at the embodiment personified in color and word. The comparisons between poetry and painting expand, the painter paints his poem in a painting, and the poet writes his painting in a poem, and the relationship between them has taken long periods of time, led by the painter and the poet, who together frequent the forests of the imagination and the semantic fields, in search of secrets and undiscovered visionary treasures. Painting is material and tangible, while poetry is spiritual, and can escape as an oral form from the constraints of matter. We can know the relationship between the Impressionist school in the visual arts, which liberated photography from the captivity of the subject, and the prose poem, which liberated poetry from meters and rhymes. There are, then, common desires between the prose poem and painting: spontaneity, abstraction, and abandonment of ornamentation, asceticism in color and mysticism; all of these are terms that come to mind when we contemplate the intimacy between the artist and the pencil. There is a sense and a passion for freedom and liberation from the constraints of color, far from the spidery complexities of color, preparation, and care for the canvas surface, and a parallel liberation for the prose poem from the constraints of meter and rhyme. The oldest phrase ever said about the overlap between poetry and painting is what was repeated by the Roman poet Horace in his book (Poetics), when he said" Poetry is a speaking image and painting is silent poetry". There is also Aristotle's theory of imitation, which he put forward in his famous book (Poetics), where he sees that poetry and painting start in their similarity from imitating reality and differ in that the former depends on storytelling, and the latter on planning. Two of the world's great artists were influenced by poetry: Van Gogh, who was called the "poet of color" because he was fascinated by the poetic color diversity of nature, and Marc Chagall, who was unique in his use of poetic images in painting, so critics were confused in classifying his works. It is certain that poetry has a chanting nature, and the recipient's relationship with it is an auditory one, as the pauses in the light of which the "verse of poetry" was written are originally auditory pauses. A number of contemporary poets have invested in the act of painting and its connotations on multiple levels as a narrative formula for poetic performance, and a number of others have imitated the techniques of color, shadow and light with conscious intent to paint a poetic painting with words, and others have gone so far as to imitate the methods of modern trends in painting, such as impressionism, surrealism, cubism and others. As for the second path, it can be described as the "metallic path", which is one of the most controversial poetic trends, and is concerned with creating a visual reading and a generic penetration between the arts of poetry and painting. "Painting is silent poetry and poetry is speaking painting." Painting is poetry. A painting can be a poem wandering in the labyrinths of color, just as a poem can be a painting that found its opportunity in the fabric of language. Painting gives us the ability to see. The truth is that this vision can only be achieved through the arts that make us see things for the first time as we have never seen them before...Almustaqbal University, The First University in Iraq