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This master’s thesis, functioning as an unfolding case study, grounded in a latent adaptation -as it is good to happen- of the Merleau-Pontian and Deleuzian Aesthetics, despite the dubious and primarily not as much systematically investigated aesthetic dimension of the latter, comprises an approach to the interartistic category of depth in literary contexts. It tries to distinguish depth from the frequently interrelated category of perspective in inter-artistic/inter-medial environments. And according to this hermeneutic proposal, the recognized distinction between depth and perspective in extremely complex inter-artistic and intermedial environments is perceived as a material index of high artistic consciousness, attained and expressed through these detected painting modalities of concrete literary works. Although these suggestive literary works are not the only representative cases, nonetheless, through their interior inter-artistic signs, they forcefully demand something more from this phenomenally irrelevant, but instead, deeply relative, by definition, painting code for their appreciation and understanding. Therefore, this thesis uses the inter-artistic categories of depth and perspective to interpret interartistic modalities in the literary environment via critically selected and mostly existing textual paradigms from the 19th and early 20th-century European and American literary canon. Meanwhile, concerning the theoretical and methodological aspects, we worked on that old inter-artistic dialogue whereby we recognize different artistic codes one in the other. A fact that promotes an inter-artistic encounter following specific philosophical directions of phenomenally distinct idioms. And this dialogue diachronically happens primarily in Literature and Painting. Hence, we focused on these literary works that carry over in a Merleau-Pontian sense even more painting modes, constructing, as such, their literary surface according to these terms.