Constellations” (1940-41) in terms of Surrealist movement and philosophy and the influences Of art and literature during the second quarter Of the nineteenth century. In addition, it attempts to expose the interaction that yields a set of similar cosmic images composing cosmic impeaches, which is explored through a similar process of surrealist creativity by focusing specifically on the afore mentioned works.
Besides their infatuation with the clash between reality and imagination, what makes Stevens and Mir¶’s creative and imaginative reception similar to each other is that they are both keen on the skillful application of the cosmic imagination that has yielded a collimator and dynamic cosmic impeaches that serves as a metaphorical decoder on their works. The term, cosmic impeaches, is used to define the the vocabulary of their cosmic dictionary compiled with their use of metaphors and tropes either painted or written. They are all a product off fictitious imagination.
Their cosmic imagination as the release of psychic and cosmic energy has served both f the creators of such aestheticism as a vast assortment of space and plane. In conclusion, one can establish a deep interaction and analog between Wallace Stevens poetic vision and Joan Mir”5 painting conception in terms of Surrealist poetic and visual imagery with the recurrent images. With a similar creative process, they are both able to compose a cosmic imagery and impeaches by having focused on the productive conflict and clash been reality and imagination through surrealist creativity.
