These searches resulted in the absolute vanguard to “abstract” or “non-objective” art and poetry like him. In fact, the poet-garde or avant-garde artist tries to imitate God by creating something indefensible exclusively in its own terms – just as nature finds justification in itself, just as aesthetically justified landscape – real and not his image ; as something given, miraculous, independent of meanings, similarities or originals. The content should be dissolved in the form as completely to the work of the artist or the writer would not be reduced in whole or in part, to something that would not be the very essence of art.
But the absolute is absolute, while the painter or the poet, being who he is, one worships the relative values more than others of the same. And those values in the name of which he invokes the absolute – relative value, aesthetic. So the artist or writer is an imitator – not God, and – in this case, the concept of “imitation” is used in its Aristotelian sense – the rules and processes of art and literature. This is the genesis of the “abstract”. Shifting his attention to the objects of everyday experience, the poet or artist turns it into a means of their craft. If nonrepresentational and abstract claims to aesthetic validity, it must not be arbitrary and accidental, but result from subordination to a certain limit or indisputable source. Once the reality of ordinary, rejected external experience, such a restriction can only be found in the very processes or rules by which art and literature previously imitated reality. It is these processes and rules become the subject of art and literature. If, following Aristotle and other thinkers, to say that all the art and all the literature – it is an imitation, then in the end we get the imitation of imitation. Or, in the words of Yeats:
And there’s singing school, is the study of monuments, full of self-glory.
Picasso, Braque, Mondrian, Kandinsky, Brancusi, even Klee, Matisse and Cézanne derive their inspiration mainly from their own means of expression. The momentum of their art, apparently, lies mainly in its pure preoccupation with inventions and organization of spaces, surfaces, shapes, colors and so on. E., Extend up to the exclusion of everything that is not necessarily inherent in these factors. The poetry of Rimbaud, Mallarmé, Valéry, Eluard, Pound, Hart Crane, Stevens, even Rilke and Yeats born, apparently, most of the attempts to create a poetry of already existing “moments” poetic implement than from the experience itself poetic implementation. Of course, it can not exclude the openness of their work and other tasks, for poetry must deal with words, but words must be communication.