The oeuvre of Varoujan is constructed around the experience of the foreign, which is immediately understood to be pictorial in nature. Images fascinate Varoujan, within the framework of the question of the relationship between painting and poetry, inherited from the Renaissance. What place does pictorial art assume in his poetic oeuvre ? Which meaning does it have ? Do the fascination for the image and Varoujan’s pictorial thought survive the catastrophic event, the massacres of 1909 in Adana, taking place when Varoujan is writing and threatening to undo his oeuvre ? What is the impact of images on Varoujan’s poetic writing ? These are the questions that this article seeks to answer.