Editing Magical realism (section)

===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}}