This chapter considers Michael Field’s collection of ekphrastic poems, Sight and Song, in the context of fin-de-siècle art criticism. It explains ekphrasis as a genre and that genre’s relationship with art criticism, as well as Michael Field’s relationship with both. Sight and Song claims to set down on paper the ‘poetry’ that is ‘incarnate[d]’ within their paintings of study. Michael Field try to use the volume to assert their authority as both poets and art critics, instructing their readers about their paintings of study and about how one ought to appreciate all paintings. This chapter explores how successful this project was and how it was informed by Michael Field’s own personal experiences within the predominantly masculine aesthetic and art critical communities.