The main critics of the nubourgeois movement claim that it’s focus on materialism makes it predominately capitalistic and consumerist; this is untrue. Many see materials being defined solely by their economic worth implying that minimalistic materialism is about money and economic capital. The nubourgeoise see a different side of materials; one which defines them by personal, cultural and social capital. This detracts them from the movement of consumerism (the definition of self worth by material belongings) and allows materialism to become something of cultural development and importance leading to personal improvement which is often precipitated into society. In sum the nubourgeoise see a move of materialism from capitalism to socialism.



A progression from realism to surrealism is the greatest experience an artist (and even an observer) can go through creatively. In Realism we see a focus on form, colour, composition, tone and aesthetics; these are the building blocks of any artist. Once an artist has mastered these he has complete control: he can abuse them and prompt them. This creates a creative and artistic power far greater than the pseudo-impressive photo realism which has taken the public spotlight as of late. True art abuses reality, true art establishes the viewer in the artists mind while considering the aesthetics. Both absolution and relativism must be consider in their own right and together in surrealism. Take this painting by Miro; it can be considered under both umbrella’s and be equally insightful. Firstly we can look at on it’s own, void of any contextual background: many would call this childish but in fact the only childish element  is the animation of the figures and symbols, each simple image is seen in unison with each other  as well as on its own. They can be observed as individuals and a community. On the other hand we can contextualise: Miro being poor was often very hungry and starved so would close his eyes and see these figures in a semi-hallucinative state. This allows us to consider this painting as the inner working of Miro’s mind, his deep inner conscious materialised; a simple state through a complex display. So in this painting we can see the techniques Miro developed in his early works and their affect on this work; all key artistic elements are paramount (form, colour etc etc) but so is a surrealist content and this leads to two considerations of the painting one contextualised, one not but both insightful into Miro. In sum what must not be forget is that as Paul Klee says – Art is a Genesis.


Apollo 8.

“The medieval notion of the earth put man at the center of everything. The nuclear notion of the earth put him nowhere — beyond the range of reason even — lost in absurdity and war. This latest notion may have other consequences. Formed as it was in the minds of heroic voyagers who were also men, it may remake our image of mankind. No longer that preposterous figure at the center, no longer that degraded and degrading victim off at the margins of reality and blind with blood, man may at last become himself.

To see the earth as it truly is, small and blue and beautiful in that eternal silence where it floats, is to see ourselves as riders on the earth together, brothers on that bright loveliness in the eternal cold — brothers who know now they are truly brothers.” – Archibald Macleish