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In 1936, Samuel Beckett goes to Brunswick to see Giorgione’s self-portrait. He admires the painting and shares the anxiety evinced by the face which looks at him. It immediately triggers a symptom and later his creative activity. The paper shows, through Lacan’s optical schemas, how the art of Giorgione influenced the Irish author and how, ten years later, the same experience recurred when Beckett was writing his short-story “Le calmant”