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The latest trends of modernism gravitate towards an ever more decisive liberation from the forms of the concrete-historical, the objective and the real. They give way to the tendency towards abstract art, which deprives them of the living colours of artistic diversity, pushes them towards the embodiment of "abstracted essences", outside their individual form of manifestation and existence. Combined with a self-serving technicalism, abstractionism ignores the "sensuous-objective and aesthetic reality" and condemns the human image in art to disintegration. It is known how wide the terrain has been conquered by the abstractionists in modern painting. From the canvases of many contemporary artists, figurativeness is defiantly banished and the artist's independent interest in his technical, optical and color problems is proclaimed, through which he establishes contact with the spirit of the times and its scientificity. The artist skips the figurative, the intermediary link between the idea and the embodiment, in order to reach directly to the hidden substance, to the abstract meaning. And then, under the incomprehensible tangles, under the chaotic color spots, lines and geometric figures, we read designations such as: "Vertical", "Strive", "Expression", "Passion". This is a leap straight into the kingdom of abstract essences, of the "thinkable" - without the old-fashioned mediation of objects. One of the clever theorists and practitioners of this tendency in literature, Hermann Broch, writes: In all isms, ultimately, a common process is evident: the empirical and accidental object is replaced by something whose ultimate roots reach back to the logical and to the Platonic idea. And since Plato in his project for the ideal state did not allocate an enviable place to artists, since they deal with the crude, empirical, sensible forms of reality, with the "shadows" of things, moving away from them from the higher and ideal essence, from the world of ideas, now his modern followers have decided to save the honor of art by freeing it from its objective language and elevating it to the rank of a medium that speaks directly to the mysterious world of essences, of ideas. But since art can hardly get rid of its "double" - the objective, the individual and the concrete, otherwise it will cease to be art - "the functions of the double" are now fundamentally rethought. The image loses its relative independence as a reflection of objective things and becomes solely. . a symbol of the subjective. It falls into the clutches of the free play of associations, of the whims of subjectivism, of a deforming architectonics. The objective-sensible receives a new tonality, since the reality of the object becomes a mere substitute for the abstract and a performer of ornamental functions. Therefore, the object can be raped and deformed to infinity" (H. Broch). In the last decade, abstractionism has increased its ambitions, spreading its tentacles to literature as well. It wants to provide a theoretical and cognitive basis for its experiments, conducting them under the sign of a newest, ultra-contemporary artistic knowledge". Its strangest creations are pretentiously defined as a cipher of the Modern Soul", as an adequate expression of modern man. Because this man represents one. "... a non-existent, formless, intangible, but suffering being" (Claude Mauriac).