- The example of music, which has long been an abstract art, and which avant-garde poetry has tried so much to emulate, is interesting.
- It has been in search of the absolute that the avant-garde has arrived at "abstract" or "nonobjective" art — and poetry, too.
- This is the genesis of the "abstract.
- The nonrepresentational or "abstract," if it is to have aesthetic validity, cannot be arbitrary and accidental, but must stem from obedience to some worthy constraint or original.
- However, if it were easier to define poetry, modern poetry would be much more "pure" and "abstract."
- Macdonald goes on to say: "Why after all should ignorant peasants prefer Repin (a leading exponent of Russian academic kitsch in painting) to Picasso, whose abstract technique is at least as relevant to their own primitive folk art as is the former's realistic style?
- The abstract technique — to accept Macdonald's supposition, which I am inclined to doubt — reminds him somewhat of the icons he has left behind him in the village, and he feels the attraction of the familiar.
- For him the medium became, privately, professionally, the content of his art, even as his medium is today the public content of the abstract painter's art — with that difference, however, that the medieval artist had to suppress his professional preoccupation in public — had always to suppress and subordinate the personal and professional in the finished, official work of art.
There are no more uses of "abstract" in Avant-garde and Kitsch.
Typical Usage (best examples)