I wouldn't want to be stuck with the unwinnable argument that Crane is a greater poet than Pound, etc. My thought, however, is, that Crane's sense of, feel for, the image acts as a kind of tuning-fork (in relation to what's beautiful in Pound et al.). (Just as, for me, Mandelstam acted as a tuning-fork for Crane.)

Hast 'ou seen boat's wake on sea wall,
                              how crests it?
What panache?
               paw-flap, wave-tap,
                      that is gaiety,
Toba Sojo,
        toward limpidity,
                         that is exultance,
             here the crest runs on the wall

(Canto CX)

(note the Yeats in the background)