Editing Magical realism (section)

==Visual art==

===Historical development===
<!-- Commented out: [[Image:George grosz-the eclipse of the sun.jpg|thumb|right|''The Eclipse of the Sun'' by [[George Grosz]], 1926]] -->

[[Image:De Chirico's Love Song.jpg|left|thumb|upright|[[Giorgio de Chirico]], ''[[The Song of Love (Giorgio de Chirico)|Love Song]]'', 1914, [[Museum of Modern Art]], New York]]

The painterly style began evolving as early as the first decade of the 20th century,<ref>"Austrian Alfred Kubin spent a lifetime wrestling with the uncanny, ... [and] in 1909 [he] published {{lang|de|Die andere Seite}} (''The Other Side''), a novel illustrated with fifty-two drawings. In it, Kubin set out to explore the 'other side' of the visible world&mdash;the corruption, the evil, the rot, as well as the power and mystery. The border between reality and dream remains consistently nebulous&nbsp;... in certain ways an important precursor [to Magic Realism]&nbsp;,...[he] exerted significant influence on subsequent German and Austrian literature." Guenther, Irene. "Magic realism in the Weimar Republic". ''MR: Theory, History, Community''. p. 57.</ref> but 1925 was when {{lang|de|Magischer Realismus}} and {{lang|de|[[Neue Sachlichkeit]]}} were officially recognized{{by whom|reason='officially' implies some authority|date=January 2024}} as major trends. This was the year that [[Franz Roh]] published his book on the subject, {{lang|de|Nach-Expressionismus, Magischer Realismus: Probleme der neuesten europäischen Malerei}} (''Post-Expressionism, Magical Realism: Problems of the Newest European Painting'') and [[Gustav Hartlaub]] curated the seminal exhibition on the theme, entitled simply {{lang|de|[[Neue Sachlichkeit]]}} (translated as ''[[New Objectivity]]''), at the {{lang|de|italic=no|[[Kunsthalle Mannheim]]}} in Mannheim, Germany.<ref name="Guenther1995" />{{rp|41}} Guenther refers most frequently to the [[New Objectivity]], rather than magical realism, which is attributed to that New objectivity is practical based, referential (to real practicing artists), while the magical realism is theoretical or critic's rhetoric. Eventually under [[Massimo Bontempelli]] guidance, the term 'magic realism' was fully embraced by the German as well as in Italian practicing communities.<ref name="Guenther1995" />{{rp|60}}

New Objectivity saw an utter rejection of the preceding [[impressionist]] and [[expressionist]] movements, and Hartlaub curated his exhibition under the guideline: only those "who have remained true or have returned to a positive, palpable reality in order to reveal the truth of the times"<ref>{{Cite book |last1=Zamora |first1=Lois Parkinson |url=https://books.google.com/books?id=Zzs_cLhfd9wC&dq=%22who+have+remained+true+or+have+returned+to+a+positive,+palpable+reality+in+order+to+reveal+the+truth+of+the+times%22&pg=PA41 |title=Magical Realism: Theory, History, Community |last2=Faris |first2=Wendy B. |date=1995 |publisher=Duke University Press |isbn=978-0-8223-1640-4 |pages=41 |language=en}}</ref>{{Rp|41}} would be included. The style was roughly divided into two subcategories: conservative, ([[Neoclassicism|neo-]])[[Classicism|classicist]] painting, and generally [[Left-wing politics|left-wing]], politically motivated [[Verism|Verists]].<ref name="Guenther, Irene pp. 41">Guenther, Irene. 1995. "[[iarchive:magicalrealismth0000unse/page/33|Magic Realism, New Objectivity, and the Arts during the Weimar Republic]]." Pp. 33–73 in ''Magical Realism: Theory, History, Community'', edited by L. P. Zamora and W. B. Faris. [[Duke University Press]]. {{ISBN|0-8223-1640-4}}.</ref>{{Rp|41}} The following quote by Hartlaub distinguishes the two, though mostly with reference to Germany; however, one might apply the logic to all relevant European countries.<ref name="Guenther, Irene pp. 41"/>{{Rp|41}}

{{blockquote|In the new art, he saw a right, a left wing. One, conservative towards Classicism, taking roots in timelessness, wanting to sanctify again the healthy, physically plastic in pure drawing after nature&nbsp;... after so much eccentricity and chaos [a reference to the repercussions of World War I]&nbsp;... The other, the left, glaringly contemporary, far less artistically faithful, rather born of the negation of art, seeking to expose the chaos, the true face of our time, with an addiction to primitive fact-finding and nervous baring of the self&nbsp;... There is nothing left but to affirm it [the new art], especially since it seems strong enough to raise new artistic willpower.<ref>[[Paul Westheim|Westheim, Paul]]. 1922. {{lang|de|italic=no|"Ein neuer Naturalismus?? Eine Rundfrage des Kunstblatts"}}. {{lang|de|[[Das Kunstblatt]]}} 9.</ref>}}

Both sides were seen all over Europe during the 1920s and 1930s, ranging from the Netherlands to Austria, France to Russia, with Germany and Italy as centers of growth.<ref name="Guenther, Irene pp. 41" />{{Rp|41–45}} Indeed, [[Italians|Italian]] [[Giorgio de Chirico]], producing works in the late 1910s under the style {{lang|it|arte metafisica}} (translated as ''[[Metaphysical art]]''), is seen as a precursor and as having an "influence&nbsp;... greater than any other painter on the artists of [[New Objectivity]]."<ref name="Guenther, Irene pp. 41" />{{Rp|38}}<ref>See also: [[Wieland Schmied|Schmied, Wieland]]. 1980. {{"'}}{{lang|de|italic=no|Neue Sachlichkeit}}' and German Realism of the Twenties". In ''German Realism of the Twenties: The Artist as Social Critic'', edited by L. Lincoln. Minneapolis: [[Minneapolis Institute of Art]]s. p. 42.</ref>

Further afield, American painters were later (in the 1940s and 1950s, mostly) coined magical realists; a link between these artists and the [[Neue Sachlichkeit]] of the 1920s was explicitly made in the New York Museum of Modern Art exhibition, tellingly titled "American Realists and Magic Realists".<ref>Miller, Dorothy C., and [[Alfred Barr]], eds. 1943. ''American Realists and Magic Realists''. New York: [[Museum of Modern Art]].</ref> French magical realist [[Pierre Roy (painter)|Pierre Roy]], who worked and showed successfully in the US, is cited as having "helped spread Franz Roh's formulations" to the United States.<ref name="Guenther, Irene pp. 41" />{{Rp|45}}

===Excluding the overtly fantastic===
When art critic [[Franz Roh]] applied the term ''magic realism'' to visual art in 1925, he was designating a style of visual art that brings extreme [[realism (arts)|realism]] to the depiction of mundane subject matter, revealing an "interior" mystery, rather than imposing external, overtly magical features onto this everyday reality. Roh explains:<ref name="publicasu">{{cite web|title=Magical Realism: Definitions|url=http://www.public.asu.edu/~aarios/resourcebank/definitions/|url-status=live|archive-url=https://web.archive.org/web/20170925115858/http://www.public.asu.edu/~aarios/resourcebank/definitions/|archive-date=25 September 2017|access-date=25 April 2018 |publisher=Arizona State University}}</ref>

{{blockquote|We are offered a new style that is thoroughly of this world that celebrates the mundane. This new world of objects is still alien to the current idea of Realism. It employs various techniques that endow all things with a deeper meaning and reveal mysteries that always threaten the secure tranquility of simple and ingenuous things&nbsp;... it is a question of representing before our eyes, in an intuitive way, the fact, the interior figure, of the exterior world.}}

In painting, 'magical realism' is a term often interchanged with [[post-expressionism]], as Ríos also shows, for the very title of Roh's 1925 essay was "Post-Expressionism, Magical Realism".<ref name=publicasu/> Indeed, as Lois Parkinson Zamora of the [[University of Houston]] writes, "Roh, in his 1925 essay, described a group of painters whom we now categorize generally as Post-Expressionists."<ref>{{cite web|url=http://www.uh.edu/~englmi/ObjectsAndSeeing_intro.html|title=Swords and Silver Rings|publisher=University of Houston|url-status=live|archive-url=https://web.archive.org/web/20090126210721/http://www.uh.edu/~englmi/ObjectsAndSeeing_intro.html|archive-date=2009-01-26}}</ref>

[[File:Alexander Kanoldt Still Life II.jpg|thumb|upright|left|[[Alexander Kanoldt]], ''Still Life II'' 1922]]

Roh used this term to describe painting that signaled a return to [[realism (arts)|realism]] after [[expressionism]]'s extravagances, which sought to redesign objects to reveal the spirits of those objects. Magical realism, according to Roh, instead faithfully portrays the exterior of an object, and in doing so the spirit, or magic, of the object reveals itself. One could relate this exterior magic all the way back to the 15th century. Flemish painter [[Jan van Eyck|Van Eyck]] (1395–1441) highlights the complexity of a natural landscape by creating illusions of continuous and unseen areas that recede into the background, leaving it to the viewer's imagination to fill in those gaps in the image: for instance, in a rolling landscape with river and hills. The magic is contained in the viewer's interpretation of those mysterious unseen or hidden parts of the image.<ref>{{cite journal |last1=Luber |first1=Katherine Crawford |title=Recognizing Van Eyck: Magical Realism in Landscape Painting |journal=Philadelphia Museum of Art Bulletin |date=1998 |volume=91 |issue=386/387 |pages=7–23 |doi=10.2307/3795460 |jstor=3795460}}</ref>
Other important aspects of magical realist painting, according to Roh, include:
* A return to ordinary subjects as opposed to fantastical ones.
* A juxtaposition of forward movement with a sense of distance, as opposed to Expressionism's tendency to foreshorten the subject.
* A use of miniature details even in expansive paintings, such as large landscapes.

The pictorial ideals of Roh's original magic realism attracted new generations of artists through the latter years of the 20th century and beyond. In a 1991 ''New York Times'' review, critic Vivien Raynor remarked that "[[John Stuart Ingle]] proves that Magic Realism lives" in his "virtuoso" [[still life]] watercolors.<ref>{{cite news | url=https://query.nytimes.com/gst/fullpage.html?res=9D0CEFD91031F93AA25756C0A967958260 | work=The New York Times | title=ART; The Skill of the Watercolorist | first=Vivien | last=Raynor | date=1991-05-19 | access-date=2010-05-12 | url-status=live | archive-url=https://web.archive.org/web/20090202201725/http://query.nytimes.com/gst/fullpage.html?res=9D0CEFD91031F93AA25756C0A967958260 | archive-date=2009-02-02 }}</ref> Ingle's approach, as described in his own words, reflects the early inspiration of the magic realism movement as described by Roh; that is, the aim is not to add magical elements to a realistic painting, but to pursue a radically faithful rendering of reality; the "magic" effect on the viewer comes from the intensity of that effort: "I don't want to make arbitrary changes in what I see to paint the picture, I want to paint what is given. The whole idea is to take something that's given and explore that reality as intensely as I can."<ref>{{cite web|url=http://www.askart.com/AskART/artists/biography.aspx?searchtype=BIO&artist=71244|title=John Ingle - Artist Biography |website=askART|access-date=25 April 2018|url-status=live|archive-url=https://web.archive.org/web/20060225180854/http://www.askart.com/AskART/artists/biography.aspx?searchtype=BIO&artist=71244|archive-date=25 February 2006}}</ref><ref>{{cite web|url=http://www.johnsandford.org/other1.html|title=The Eye and the Heart: The Watercolors of John Stuart Ingle|first=Roswell Anthony|last=Camp|website=John Sandford – The Official Website|access-date=25 April 2018|url-status=live|archive-url=http://archive.wikiwix.com/cache/20120906215140/http://www.johnsandford.org/other1.html|archive-date=6 September 2012}}</ref>

===Later development: incorporating the fantastic===
[[File:PaulCadmusTheFleetsIn.jpg|thumb|[[Paul Cadmus]], ''The Fleet's In!'' 1934]]

While Ingle represents a "magic realism" that harks back to Roh's ideas, the term "magic realism" in mid-20th century visual art tends to refer to work that incorporates overtly fantastic elements, somewhat in the manner of its literary counterpart.

Occupying an intermediate place in this line of development, the work of several European and American painters whose most important work dates from the 1930s through to the 1950s, including [[Bettina Shaw-Lawrence]], [[Paul Cadmus]], [[Ivan Albright]], [[Philip Evergood]], [[George Tooker]], [[Ricco (painter)|Ricco]], even [[Andrew Wyeth]], such as in his well-known work [[Christina's World]],<ref name="moma">[http://www.moma.org/collection/browse_results.php?object_id=78455 ''Christina's World''] in the [[Museum of Modern Art|MoMA]] Online Collection</ref> is designated as "magic realist". This work departs sharply from Roh's definition, in that it (according to ''Artcyclopedia'') "is anchored in everyday reality, but has overtones of fantasy or wonder".<ref>{{cite web|url=http://www.artcyclopedia.com/history/magic-realism.html|title=Magic Realism|website=Artcyclopedia|access-date=25 April 2018|url-status=live|archive-url=http://arquivo.pt/wayback/20091001010202/http://www.artcyclopedia.com/history/magic%2Drealism.html|archive-date=1 October 2009}}</ref> In the work of Cadmus, for example, the surreal atmosphere is sometimes achieved via stylized distortions or exaggerations that are not realistic.

Recent "magic realism" has gone beyond mere "overtones" of the fantastic or surreal to depict a frankly magical reality, with an increasingly tenuous anchoring in "everyday reality". Artists associated with this kind of magic realism include [[Marcela Donoso]]<ref>Elga Perez-Laborde (10 October 1999). "Marcela Donoso". {{lang|pt|Jornal do Brasilia}}.</ref><ref>Elga Perez-Laborde (December 2002). "Prologo". {{lang|es|Iconografía de Mitos y Leyendas, Marcela Donoso}}. {{ISBN|978-956-291-592-2}}.</ref><ref>"with an impressive chromatic delivery, images come immersed in such a magic realism full of symbols", {{lang|es|El Mercurio – Chile}}, 22bJune 1998</ref><ref>Antonio Fernandez, Director of the Art Museum of Universidad de Concepción: "I was impressed by her original iconographic creativity, that in a way very close to magic realism, achieves to emphasize with precision the subjects specific to each folkloric tradition, local or regional", Chile, 29 December 1997</ref><ref>http://www.marceladonoso.cl {{webarchive|url=https://web.archive.org/web/20081202060957/http://www.marceladonoso.cl/ |date=2008-12-02 }}</ref> and [[Gregory Gillespie]].<ref>{{cite news | url=https://query.nytimes.com/gst/fullpage.html?res=9B03EFDE1E3BF931A1575AC0A9669C8B63 | work=The New York Times | title=ART IN REVIEW; Gregory Gillespie | first=Ken | last=Johnson | date=2000-09-22 | access-date=2010-05-12 | url-status=live | archive-url=https://web.archive.org/web/20090202214856/http://query.nytimes.com/gst/fullpage.html?res=9B03EFDE1E3BF931A1575AC0A9669C8B63 | archive-date=2009-02-02 }}</ref><ref>{{cite web|url=http://www.artcyclopedia.com/artists/gillespie_gregory.html|title=Gregory Gillespie Online|website=Artcyclopedia|access-date=25 April 2018|url-status=live|archive-url=https://archive.today/20120723213032/http://www.artcyclopedia.com/artists/gillespie_gregory.html|archive-date=23 July 2012}}</ref><ref>{{cite news | url=https://query.nytimes.com/gst/fullpage.html?res=9801E3DF1731F930A15756C0A9659C8B63 | work=The New York Times | title=ART IN REVIEW; James Valerio | first=Ken | last=Johnson | date=2003-05-23 | access-date=2010-05-12 | url-status=live | archive-url=https://web.archive.org/web/20090202211153/http://query.nytimes.com/gst/fullpage.html?res=9801E3DF1731F930A15756C0A9659C8B63 | archive-date=2009-02-02 }}</ref>

Artists such as [[Peter Doig]], [[Richard T. Scott]] and Will Teather have become associated with the term in the early 21st century.

===Painters===
{{div col|colwidth=20em}}
* [[Alex And]]
* [[Colleen Browning]]
* [[Paul Cadmus]]
* [[Felice Casorati]]
* [[Alex Colville]]
* [[John Rogers Cox]]
* [[Cagnaccio di San Pietro]]
* [[Antonio Donghi]]
* [[Marcela Donoso]]
* [[Eyvind Earle]]
* [[Jared French]]
* [[H. R. Giger]]
* [[Rob Gonsalves]]
* [[Juan Gonzalez (artist)|Juan Gonzalez]]
* [[Edward Hopper]]
* [[Carroll N. Jones III]]
* [[Frida Kahlo]]
* [[Gayane Khachaturian]]
* [[Henry Koerner]]
* [[Simphiwe Ndzube]]
* [[Michael Parkes]]
*[[Charles Rain]]
* [[Mohammad Rawas]]
* [[Ricco (painter)|Ricco]]
* [[Priscilla Roberts]]
* [[Deirdre Sullivan Beeman]]
* [[George Tooker]]
* [[Ramon Unzueta]]
* [[Jan Verdoodt]]
* [[Carel Willink]]
* [[Nicholas Zalevsky]]
{{div col end}}