This essay is to study the painterly traits in Derek Walcott`s poetry. Walcott uses painting as much as possible as part of the poem`s technique to nourish his poetry in terms of image-making, visual image, as well as sense of line and composition. Thus, every view in his poetry is composed and colored and framed as in painting. The indispensable connection between painting and poetry was formed based on his simultaneous career as a poet and painter in his youth. The young Walcott ranged over the painting masters and their paintings from Renaissance to Post-impressionism. More specifically, he learned many of the painterly images and the references to famous paintings from Renaissance masters, such as Michelangelo, Leonardo da Vinci, Giotto, and the highly pure colors from Cezanne`s south-European landscape paintings and Gauguin`s primitive nature which he felt have some sort of resemblance to oranges and greens and browns of the dry season in St. Lucia. Meanwhile, the Renaissance masters and Post-impressionists are keen observers of nature and put great emphasis on the exactness/accuracy of description. Just as the Renaissance masters turned their backs on their contemporary painter, Botticelli`s mystique, the Post-impressionists were opposed to the pointillists` divisionism which used tiny dabs of color. This tendency of the two periods` masters is always found throughout Walcott`s poetry. In other words, Walcott is a keen observer of nature and a painter-poet who puts emphasis on the exactness/accuracy of description as did his predecessors.