This study of Giorgio Morandi, the great twentieth-century Italian painter, departs from the model of Freud's essay on Leonardo, in which he creates a psychodynamic hypothesis by linking the art with facts and conjecture about the artist's life. Because personal information about Morandi is remarkably scarce, we can make few connections between his art and his individual psychology. But Morandi's works can inform psychoanalysis and enhance analytic listening when we reflect on the paintings themselves, our responses to them, and the responses of art critics. This approach to his art evokes core principles of clinical theory, demonstrates the overlap between the creative process in art and analysis, and exemplifies the value of interdisciplinary study for analytic education.