Solt included in her proposed new genre the work of Ian Hamilton Finlay, John Furnival and Hansjörg Mayer.
In the light of these assertions, a new genealogy of forerunners to visual poetry emerges that includes Joan Miró's poem-painting Le corps de ma brune (1925),[6] Piet Mondrian's incorporation of Michel Seuphor's text in Textuel (1928),[7] and prints (druksels) by H.N.
[8] Created during the 1920s, they anticipated the intermediary 'typestracts' of the concrete poet Dom Sylvester Houédard during the 1960s[9] that would equally qualify as visual poetry.
Klaus Peter Dencker also stresses the continuity of the new genre in his theoretical paper "From Concrete to Visual Poetry" (2000), pointing out its "intermedial and interdisciplinary" nature.
[10] The academic Willard Bohn, however, prefers to categorize the whole gamut of literary and artistic experiment in this area since the late 19th century under the label of visual poetry and has done so in a number of books since 1986.