A starting point of doctoral dissertation titled Visual Art Coordinates in the Work of Miroslav Krleža comprises the aesthetical, critical and belletristic contributions by writer Miroslav Krleža to the field of visual arts. The aim of dissertation is to actualize and consequently recontextualize the writer's reception of visuality within a framework of significant theoretical landmarks of his own era, as well as recent theoretical and critical achievements. The dissertation methodologically positions, compares and systemizes ethical-aesthetical, art-historical and social-critical aspects of visuality in Krleža's literary space, generally indented as a three partite genre diversification to fictional, essayistic and aesthetic-political statements. The dissertation's first part presents the theoretical reception of Krleža's approach to visuality within two temporal corpuses, one from 1917 to 1934 , and the other from 1952 down to contemporary tendencies. The second part analyzes thematic discursive texts in which Krleža refers to concrete artworks, tendencies and phenomena. The third part arguments writer's receptivity concerning the visual correlates and does so by using a specimen composed of a sequence of cryptogrammic structures within a literary text. The final thesis' part brings Krleža's views on visuality to the most proximate connection with the tendencies of aesthetical and social objectivation, as well as the factualistic simultaneity of aesthetic-political engagement of a German group called Neue Sachlichkeit. A link between hermeneutic and recent visual-critical views and Krleža's positions on visual art is based on the aspects of active (experiential), communicational (agreeing) and cultural reality of an artwork which not only includes but, as a rule, also substantiates the art's social landmarks.