ABSTRACT: This article presents an intertextual analysis of the archetypal images of the novel The Tunnel (1948), by the Argentine writer Ernesto Sabato transposed into his paintings, thus providing an opportunity for a comparative analysis not yet explored of the work. This study is based on the perspective of Analytical Psychology applied to the methodology of Comparative Literature as an instrument of Literary Criticism, based on the archetypal image of the shadow as the guiding thread of the Sabato’s narrative, it is the confession of a passionate crime narrated by Juan Pablo Castel, protagonist of the novel. The theoretical support comes from the studies of Jung (2002), Hillman (2018), Jacobi (2016), Ulson (1988) and Von Franz (2002) in the dialogue with Sabato's paintings: Something that happened in my studio (1994) ) and Someone observes the studio of an absent painter (1981) that resignify the archetypal shadows of the literary text to the pictorial text, expressed in the excessive use of dark tones, in the expressionist and disturbing character of the characters and in the symbolism of death in the author's paintings. Thus, the intersemiotic process of the literary text of The Tunnel (1948) for the pictorial universe is configured as an extension of the author's narrative, revealing the archetypal symbology of images as a critical instrument in the interpretation of literary and visual languages. Keywords: The Tunnel. Archetypal Images. Literature. Analytical Psychology. ; RESUMO: O presente artigo apresenta uma análise intertextual das imagens arquetípicas do romance O Túnel (1948), do escritor argentino Ernesto Sabato, transpostas para suas pinturas, oportunizando, dessa forma, uma análise comparativa ainda não explorada da obra. Este estudo fundamenta-se na perspectiva da Psicologia Analítica aplicada à metodologia da Literatura Comparada como instrumento da Crítica Literária, com base na imagem arquetípica da sombra como fio condutor da narrativa sabatiana, pois trata-se da confissão de um crime ...