The paper focuses on the reciprocal influences between visual arts and literature from the end of the 19th century up to the 1930s, notably with regard to geometric abstraction. Considering the statement of «the end of scientific perspective» (F. Novotny), Abstract Art and the Constructivism as well as Concrete Art and poetry, this essay examines the question of geometry and perspective within the scope of art and literature, thereby analysing two works of prose by Kurt Schwitters (1887-1948), Auguste Bolte (1922) and Horizontale Geschichte (1926), as well as some of his aesthetic works. Schwitters pushes the experimentation with geometric abstraction to the extreme, oriented by the Romantic Movement and the technical and scientific discoveries from the 17th to the 19th century. He takes an interest in the invisible logics within matters which will be the subject of the so-called «fractal geometry» in the second half of the 20th century. The way Schwitters deals with these issues and uses them as material for his literary works is a very interesting case study.