Magic realism

With regard to literature, "magic realism", or "magical realism", is an aesthetic style or narrative mode in which magical elements are blended into a realistic atmosphere in order to access a deeper understanding of reality. These magical elements are explained like normal occurrences that are presented in a straightforward and unembellished manner which allows the 'real' and the 'fantastic' to be accepted in the same stream of thought. It has been widely considered a literary and visual art genre; creative fields that exhibit less significant signs of magic realism include film and music.

As used today, the term is broadly descriptive rather than critically rigorous: Matthew Strecher has defined magic realism as "what happens when a highly detailed, realistic setting is invaded by something 'too strange to believe'." However, it may be that this critical perspective towards magical realism stems from the Western reader's disassociation with mythology, a root of magical realism more easily understood by non-Western cultures. Westerner's confusion regarding the style of magical realism is due to the "'conception of the real'" created in a magical realist text; rather than explaining reality using natural or physical laws as in typical Western texts, magical realist texts create a reality "'in which the relation between incidents, characters, and setting could not be based upon or justified by their status within the physical world or their normal acceptance by bourgeois mentality'." Today, there are many writers whose work is categorized "magical realist", to such an extent that critics and readers alike are confused as to what the term really means and how wide its borders are.

Etymology

While the term magical realism wasn't introduced until 1955, magic realism was first used in 1925 by the German art critic Franz Roh to refer to a painterly style also known as Neue Sachlichkeit (the New Objectivity), an alternative championed by fellow German, museum director Gustav Hartlaub. Roh considered magic realism to be related to, but distinctive from, surrealism due to magic realism's focus on the material object and the actual existence of things in the world, as opposed to the more cerebral and psychological reality explored by the surrealists. It was later used to describe the uncanny realism by American painters such as Ivan Albright, Paul Cadmus, George Tooker and other artists during the 1940s and 1950s. However, in contrast with its use in literature, magical realist art does not often include overtly fantastic or magical content, but rather looks at the mundane, the every day, through a hyper-realistic and often mysterious lens; the extent to which magical elements enter in visual art depend on the subcategory, discussed in detail below.

The theoretical implications of Roh's magic realism had a great influence on European and Latin American literature, for instance, on Italian Massimo Bontempelli. Argued by some to be the first magic realist creative writer, Bontempelli sought to present the "mysterious and fantastic quality of reality". He claimed that literature could function as a means to create a collective consciousness by "opening new mythical and magical perspectives on reality", and used his writings as a means to inspire an Italian nation governed by Fascism. Venezuelan Arturo Uslar-Pietri was closely associated with Roh's form of magic realism and knew Bontempelli in Paris. Rather than following Cuban writer Alejo Carpentier's developing versions of "the (Latin) American marvellous real", Uslar-Pietri's writings emphasize "the mystery of human living amongst the reality of life". He considered magic realism to "be a continuation of the ' vanguardia ' [or Avant-garde] modernist experimental writings of Latin America." Literary magic realism is commonly understood to have originated from Latin America. Writers would often travel back and forth between their home country and European cultural hubs, such as Paris or Berlin, and were in turn influenced by the art movement of that time. Carpentier and Uslar-Pietri, for example, were strongly influenced by European artistic movements, such as Surrealism, during their stays in Paris in the 1920s and 1930s. Nevertheless, one major event is considered irrefutably as the link between painterly and literary magic realisms: the translation and publication of Roh's book into Spanish by Spain's Revista de Occidente in 1927, headed by major literary figure José Ortega y Gasset. "Within a year, Magic Realism was being applied to the prose of European authors in the literary circles of Buenos Aires". Particularly, with his first magical realist publication of Historia universal de la infamia in 1935, Jorge Luis Borges inspired and encouraged other Latin American writers in the development of magical realism. From there between 1940 and 1950, magical realism in Latin America reached its peak with prominent writers appearing mainly in South America and more specifically in Argentina.

Literature

Themes and qualities

The extent to which the characteristics listed below apply to any given magic realist text varies; every text is different and will employ a smattering of those listed here. However, they do serve as a good judge of what one might expect from a magic realist text.

• Realism paired with elements of fantasy

As recently as 2008, magical realism in literature has been defined as "a kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the 'reliable' tone of objective realistic report. Designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of fable, folk tale, and myth while maintaining a strong contemporary social relevance. The fantastic attributes given to characters in such novels — levitation, flight, telepathy, telekinesis — are among the means that magic realism adopts in order to encompass the often phantasmagorical political realities of the 20th century."

• Narrator's indifference to 'the strange'

The narrator frequently appears to accept events contrary to the usual operating laws of the universe as natural, even unremarkable. Though the tellers of astonishing tales, they themselves express little or no surprise. This lack of surprise is emphasized particularly by the absence of additional "discussion" or "needlessly baroque descriptions" following the occurrence of an unnatural or fantastic event; the story proceeds with "logical precision" as if nothing extraordinary took place.

• Layering/plenitude

An idea championed by Alejo Carpentier in an essay entitled "The Baroque and the Marvelous Real", the baroque is defined by a lack of emptiness, a departure from structure or rules, and an “extraordinary” plenitude of disorienting detail (citing Mondrian as its polar opposite). From this angle, we can say that Carpentier views the baroque as a layering of elements, which translates easily into the post-colonial or transcultural Latin American atmosphere that Carpentier emphasizes in the The Kingdom of this World. “America, a continent of symbiosis, mutations...mestizaje, engenders the baroque”, made explicit by elaborate Aztec temples and associative Nahuatl poetry. These mixing ethnicities grow together with the American baroque; the space in between is where the “marvelous real” can be seen. Marvelous: not meaning beautiful and pleasant, but extraordinary, strange, excellent. Such a complex system of layering – encompassed in the Latin American “boom” novel, such as One Hundred Years of Solitude - has as its aim, “translating the scope of America”.

• Hybridity

It is characteristic of magical realism for plot lines to utilize multiple planes of reality taking place in "inharmonious arenas of such opposites as urban and rural, and Western and indigenous". For example, as seen in Julio Cortázar's "La noche boca arriba," an individual experiences two realistic situations simultaneously in the same place but during two different time periods, centuries apart. These two realities are connected by his dreamlike state; it is this small bit of magic that allows these multiple planes of reality to be possible that would not exist otherwise . Overall, they serve to establish "a more deep and true reality than conventional realist techniques would illustrate".

• A sense of life's mystery

Something that most, if not all, critics agree on is this major theme. Magic realist literature tends to read at a very intensified level. Taking the seminal work of the style, "One Hundred Years of Solitude" by Gabriel Garcia Marquez, the reader must let go of preexisting ties to conventional exposition, plot advancement, linear time structure, scientific reason, etc., in an attempt to let go of natural assumptions and to then reach a state of heightened awareness about all life's connectedness or life's 'hidden meaning'. Carpentier articulates this feeling as “to seize the mystery that breathes behind things” and further supports the claim by stating that a writer must heighten his senses to the point of “estado limite” [translated as "limit state" or "extreme state"] in order to realize all levels of reality, most importantly that mystery.

• Collective consciousness or collective memory

The Mexican critic Luis Leal has said, "without thinking of the concept of magical realism, each writer gives expression to a reality he observes in the people. To me, magical realism is an attitude on the part of the characters in the novel toward the world," or toward nature. He adds, "If you can explain it, then it's not magical realism."

• Social awareness and/or political critique

According to Naomi Lindstrom's Twentieth-Century Spanish American Literature, "magic realism fuses (1) lyrical and, at times, fantastic writing with (2) an examination of the character of human existence and (3) an implicit criticism of society, particularly the elite." The works do not seek to satisfy a popular audience, but instead a sophisticated audience that must be attuned to "subtleties."

• Authorial Reticence

Authorial reticence is the "deliberate withholding of information and explanations about the disconcerting fictitious world". The narrator does not provide explanations about the accuracy or credibility of events described or views expressed by characters in the text. The act of explaining the supernatural immediately reduces the legitimacy of this world in comparison to the natural world. The reader would therefore disregard the supernatural as false testimony.

Major topics in criticism

• Ambiguities in definition

Determining who coined the term magical realism (as opposed to magic realism) is a controversial topic among literary critics. Maggie Ann Bowers argues that it first emerged in the 1955 essay "Magical Realism in Spanish American Fiction" by critic Angel Flores. She notes that while Flores names Jorge Luis Borges as the first magical realist (some critics would consider him to be a predecessor and not actually a magical realist), he fails to acknowledge either Alejo Carpentier or Arturo Uslar-Pietri for bringing Roh's magic realism to Latin America. However, both Luis Leal and Irene Guenther, (referencing Pietri and Jean Weisgerber texts, respectively), attest to the fact that Pietri was one of the first, if not the first, to borrow the term and apply it to Latin American literature. Leal and Guenther both quote Pietri, who described "...man as a mystery surrounded by realistic facts. A poetic prediction or a poetic denial of reality. What for lack of another name could be called a magical realism." It is worth noting that Pietri, in presenting his term for this literary tendency, always kept its definition open by means of a language more lyrical and evocative than strictly critical, as in this 1948 statement. When academic critics attempted to define magical realism with scholarly exactitude, they discovered that it was more powerful than precise. Critics, frustrated by their inability to pin down the term's meaning, have urged its complete abandonment. Yet in Arturo Uslar-Pietri's vague, ample usage, magical realism was wildly successful in summarizing for many readers their perception of much Latin American fiction; this fact suggests that the term has its uses, so long as it is not expected to function with the precision expected of technical, scholarly terminology."

• Magic(al) realism, vs. lo real maravilloso

The Cuban writer Alejo Carpentier originated the term lo real maravilloso (roughly "marvelous reality") in the prologue to his novel The Kingdom of this World (1949), however it is debated whether he is truly a magical realist writer. Maggie Bowers claims he is widely acknowledged as the originator of Latin American magical realism (as both a novelist and critic); she describes Carpentier's conception to be of a kind of heightened reality in which elements of the miraculous could appear while seeming natural and unforced. She suggests that by disassociating himself and his writings from Roh's painterly magic realism, Carpentier aimed to show how, by virtue of Latin America's varied history, geography, demography, politics, myths and beliefs, improbable and marvelous things are made possible. Furthermore, Dr. Clark Zlotchew believes that Carpentier's meaning is that Latin America is a land filled with marvels, and that "writing about this land automatically produces a literature of marvelous reality." While the terms magical realism and lo real maravilloso are often used interchangeably, Zlotchew believes the key difference lies in the focus. In works of magical realism, a fictional world is created by the author. However, works categorized as lo real maravilloso take place in the real world of Latin America. The writer uses this world as the setting for his or her fiction. Critic Luis Leal further supports the claim that Carpentier was an originating pillar of the style by implicitly referring to the latter's critical works, writing that "the existence of the marvelous real is what started magical realist literature, which some critics claim is the truly American literature." Juan Barroso VIII, on the other hand, claims that Carpentier's "lo real maravilloso" is distinct from the term, magical realism, because it specifically refers to the magical realism of America. Lee A. Daniel asserts that critics of Carpentier can be categorized into one of three groups: those that don't consider him to be a magical realist whatsoever (Ángel Flores), those that call him "a mágicorealista writer with no mention of his lo real maravilloso (Gómez Gil, Jean Franco, Carlos Fuentes)" and those that use the two terms interchangeably (Fernando Alegria, Luis Leal, Emir Rodriguez Monegal).

• Exclusivity to Latin America and Latin Americans

Criticism that Latin America is the birthplace and cornerstone of all things magic realist is quite common. Angel Flores does not deny that magical realism is an international commodity but articulates that it has a Hispanic birthplace, writing that "magical realism is a continuation of the romantic realist tradition of Spanish language literature and its European counterparts". And Flores is not alone on this front; indeed, there seems to be somewhat of a battle between those who see magical realism as a Latin American invention and those who see it as the global product of a postmodern world. Irene Guenther concludes, "conjecture aside, it is in Latin America that [magical realism] was primarily seized by literary criticism and was, through translation and literary appropriation, transformed". Nevertheless, magic realism has taken on an internationalization: dozens of non-Hispanic writers are categorized as such, and many believe that it truly is an international commodity.

• Magic realism as postmodernism

Wendy B. Faris examines in her article "Scheherezade's Children: Magical Realism and Postmodern Fiction" how postmodernist examples of magical realism are frequently more accessible than their modernist predecessors: "magic realist fictions do seem more youthful and popular than their modernist predecessors, in that they often (though not always) cater with unidirectional story lines to our basic desire to hear what happens next. Thus they may be more clearly designed for the entertainment of readers".

Comparison with related genres

When attempting to define what something is, it is often helpful to define what something is not. It is also important to note that many literary critics attempt to classify novels and literary works in only one genre, such as “romantic” or “naturalist,” not always taking into account that many works fall into multiple categories. Much discussion is cited from Maggie Ann Bowers' book Magic(al) Realism, wherein she attempts to delimit the terms magic and magical realism by examining the relationships with other genres such as realism, surrealism, fantastic literature and science fiction.

• Comparison with realism

Realism is an attempt to create a depiction of actual life; a novel does not simply rely on what it presents but how it presents it. In this way, a realist narrative acts as framework by which the reader constructs a world using the raw materials of life. Understanding both realism and magical realism within the realm of a narrative mode is key to understanding both terms. Magical realism "relies upon the presentation of real, imagined or magical elements as if they were real. [It furthermore] relies upon realism but only so that it can stretch what is acceptable as real to its limits." As a simple point of comparison, Roh's differentiation between expressionism and post-expresionism as described in German Art in the 20th Century, may be applied to magic realism and realism. Realism pertains to the terms "history," "mimetic," "familiarization," "empiricism/logic," "narration," "closure-ridden/reductive naturalism," and "rationalization/cause and effect." On the other hand, magic realism encompasses the terms "myth/legend," "fantastic/supplementation," "defamiliarization," "mysticism/magic," "meta-narration," "open-ended/expansive romanticism," and "imagination/negative capability."

• Comparison with surrealism

Surrealism is often confused with magical realism, as they both explore illogical or non-realist aspects of humanity and existence. There is a strong historical connection between Franz Roh's concept of magic realism and surrealism, as well as the resulting influence on Carpentier's marvelous reality; however, important differences remain. Surrealism "is most distanced from magical realism [in that] the aspects that it explores are associated not with material reality but with the imagination and the mind, and in particular it attempts to express the 'inner life' and psychology of humans through art." It seeks to express the sub-conscious, unconscious, the repressed and inexpressible. Magical realism, on the other hand, rarely presents the extraordinary in the form of a dream or a psychological experience. "To do so," Bowers writes, "takes the magic of recognizable material reality and places it into the little understood world of the imagination. The ordinariness of magical realism's magic relies on its accepted and unquestioned position in tangible and material reality."

• Comparison with fantasy literature

Prominent English-language fantasy writers have stated that "magic realism" is only another name for fantasy fiction. Gene Wolfe said, "magic realism is fantasy written by people who speak Spanish,", and Terry Pratchett said magic realism "is like a polite way of saying you write fantasy". However, Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of antimony (the simultaneous presence of two conflicting codes), the inclusion of events that cannot be integrated into a logical framework, and the use of authorial reticence (a deliberate withholding of information and explanations). In fantasy, the presence of the supernatural code is perceived as problematic, something to which special attention is drawn, whereas in magical realism the presence of the supernatural is accepted. While in fantasy, authorial reticence creates a disturbing effect on the reader, it works to integrate the supernatural into the natural framework in magical realism. This integration is made possible in magical realism as the author presents the supernatural as being equally valid to the natural. There is no hierarchy expressed between the two codes. The author does not provide explanations for the presence of the supernatural, because by having to explain it, the validity of the supernatural is undermined. To Dr. Clark Zlotchew, the differentiating factor between the fantastic and magical realism is the hesitation experienced by the protagonist, implied author or reader in deciding whether to attribute natural or supernatural causes to an unsettling event, or between rational or irrational explanations.

Fantastic literature, such as Kafka's short story "Metamorphosis", may be defined as a piece of narrative in which there is a constant faltering between belief and non-belief in the supernatural or extraordinary event. Bowers cites critic Tzvetan Todorov, who identifies the key characteristic of the fantastic as the reader's hesitation between natural and supernatural explanations for the fictional events in the text. Unlike fantastic texts, magical realist texts present magical aspects as accepted everyday realities. The ghost of Melquíades in Márquez's One Hundred Years of Solitude or the baby ghost in Toni Morrison's Beloved who visit or haunt the inhabitants of their previous residence are both presented by the narrator as ordinary occurrences; the reader, therefore, accepts the marvelous as normal and common.

In Leal's view, magical realism has a tropical (or llano [plains] or desert) context, but he says that the fiction of Julio Cortázar contains only "the fantastic", not magical realism. He distinguished as follows: "in fantastic literature — in Borges, for example — the writer creates new worlds, perhaps new planets. By contrast, writers like García Márquez, who use magical realism, don't create new worlds, but suggest the magical in our world." Even Cortázar's short story "Casa Tomada", about a brother and sister whose house is taken over by someone or something mysterious, for Leal is an example of the fantastic and not magical realism.

• Comparison with science fiction

While science fiction and magical realism both bend the notion of what is real, toy with human imagination, and are forms of (often fantastical) fiction, they differ greatly. Bower's cites Aldous Huxley's Brave New World as a novel which exemplifies the science fiction novel's requirement of a "rational, physical explanation for any unusual occurrences." Huxley portrays a world in which the population is highly controlled with mood enhancing drugs, which are controlled by the government; in this world, there is no link between copulation and reproduction. Humans are produced in giant test tubes, where their fates are determined by chemical alterations during "gestation." Bowers argues that "the science fiction narrative's distinct difference from magical realism is that it is set in a world different from any known reality and its realism resides in the fact that we can recognize it as a possibility for our future. Unlike magical realism, it does not have a realistic setting that is recognizable in relation to any past or present reality."

• Comparison with the marvelous

The term "the marvelous" may be easily confused with magical realism, as both modes introduce supernatural events without surprising the implied author. These events are accepted as everyday occurrences. However, Dr. Clark Zlotchew notes that the marvelous world is a monodimensional world. The implied author believes that anything can happen in the marvelous world because the entire world is filled with supernatural beings and situations. Magic is normal and expected in this world. Fairy tales are an example of marvelous literature, where characters live in a world different to our own, and are accustomed to encounters with mystical creatures. The important idea in defining the marvelous is that the reader understands that this fictional world is different from the world they live in. The monodimensional world presented in the marvelous differs from the bidimensional world presented in magical realism, where the supernatural realm enters the natural, familiar world.

Major authors and works

Although there is much debate among critics and writers regarding who and/or which works fall within the genre of magical realism, the following authors tend to be regarded as most representative of the narrative mode. Within the Latin American world, perhaps the most iconic of magical realist novelist is Nobel Laureate Gabriel Garcia Márquez, whose novel One Hundred Years of Solitude was an instant worldwide success. Garcia Márquez confessed:"my most important problem was destroying the line of demarcation that separates what seems real from what seems fantastic". The first woman writer from Latin America to be recognized outside the continent was Isabel Allende, who is commonly known as a magical realist. Her most well-known novel The House of the Spirits is arguably quite similar to Marquez's style of magical realist writing. Another notable magical realist novelist is Laura Esquivel, whose Like Water for Chocolate tells the story of the domestic life of women living on the margins of their families and society. The novel's protagonist, Tita, is kept from happiness and marraige by her mother. "Her unrequited love and ostracism from the family lead her to harness her extraordinary powers of imbuing her emotions to the food she makes. In turn, people who eat her food enact her emotions for her. For example, after eating a wedding cake which Tita made while suffering from a forbidden love, the guests all suffer from a wave of longing.

In the English speaking wold, major authors include British Indian writer Salmon Rushdie, African American novelist Toni Morrison, and English feminist writer Angela Carter. Perhaps the best known is Rushdie, whose "language form of magical realism straddles both the surrealist tradition of magic realism as it developed in Europe and the mythic tradition of magical realism as it developed in Latin America." Morrison's most notable work, Beloved, tells the story of a mother who, haunted by the ghost of her child, learns cope with memories of her traumatic childhood as an abused slave and the burden of nurturing children into a harsh and brutal society. For a detailed list of authors and works considered magical realist please see Category:Magic realism novels

Visual art

Early Development

The painterly style can be said to have begun evolving as early as the 1900s, but the year in which magischer realismus and neue sachlichkeit were officially recognized as major trends was 1925. This was the year that Franz Roh published his book on the subject, Nach Expressionismus: Magischer Realismus: Probleme der neuesten europäischen Malerei (translated as After Expressionism: Magical Realism: Problems of the Newest European Painting) and Gustav Hartlaub curated the seminal exhibition on the theme, entitled simply Neue Sachlichkeit (translated as New Objectivity), at the Kunsthalle Mannheim in Mannheim, Germany. In her article on the subject, Irene Guenther refers most frequently to the New Objectivity, rather than magical realism; perhaps this can be attributed to the fact that the former was initially the more practical based, referential (to real practicing artists) term, while the latter was used more in theoretical or critic's rhetoric. However, with time, the term magic realism was fully embraced by the practicing community, in Germany as well as in Italy, under the guidance of Massimo Bontempelli (organizer of journal 900).

New Objectivity saw an utter rejection of the preceding impressionist and expressionist movements, and Hartlaub curated his exhibition under that guideline: only those "'who have remained true or have returned to a positive, palpable reality' in order to reveal the truth of the times" would be included. The style can then be roughly divided into two subcategories - conservative, (neo-)Classicist painting and generally left-wing, politically motivated Verists. 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. "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...after so much eccentricity and chaos [a reference to the repercussions of WWI]... 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... There is nothing left but to affirm it [the new art], especially since it seems strong enough to raise new artistic willpower.

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. Indeed, Italian Giorgio de Chirico, producing works in the late 1910s under the style arte metafisica (translated as Metaphysical art), is seen as a precursor and as having an "influence...greater than any other painter on the artists of New Objectivity".

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". French magical realist Pierre Roy, who worked and showed successfully in the US, is cited as having "helped spread Franz Roh's formulations" to the United States.

Magic realism which excludes the overtly fantastic

When art critic Franz Roh introduced the term magic realism with reference to visual art in 1925, he was designating a style of visual art which brings extreme realism to the depiction of mundane subject matter, revealing an "interior" mystery, rather than imposing external, overtly magical features onto this everyday reality. Roe explains,

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.... 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 (in this sense) is a term often used interchangeably with post-expressionism, as Ríos also shows, for the very title of Roh's 1925 essay was "Magical Realism:Post-Expressionism". Indeed, as Dr. 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." [14] Roh used this term to describe painting which signaled a return to 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.

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 continued to attract 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. Ingle's approach, as described in his own words, reflects very much 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."

Later development: magic realism which incorporates the fantastic

The Fleet's In! by Paul Cadmus

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 which incorporates overtly fantastic elements, somewhat in the manner of its literary counterpart.

Occupying a somewhat 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, even Andrew Wyeth, is often designated as "magic realist". Some of this work departs sharply from Roh's definition, in that it (according to artcyclopedia.com) "is anchored in everyday reality, but has overtones of fantasy or wonder." In the work of Cadmus, for example, the surreal atmosphere is sometimes achieved via stylized distortions or exaggerations which are not, strictly speaking, realistic.
On reference to the 20th century, the Flemish painter Van Eyck (1395-1441), displays landscapes and spaces through his compositions by creating illusions of continuous and unseen areas that recede into the background. They serve to leave the images to the viewer's imagination, for instance in a continuous landscape with a river and hills. The magical aspect is represented by letting the viewer interpret the mystical.

More recent "magic realism" has gone beyond mere "overtones" of the fantastic or surreal to depict a more frankly magical reality, with an increasingly tenuous anchoring in "everyday reality". Artists associated with this kind of magic realism include Marcela Donoso and Gregory Gillespie.

Artists such as Peter Doig and Will Teather have become associated with the term in the early 21st century.

See also

With reference to literature

• Category:Magic realism novels
• Latin American Boom
• Hysterical realism

With reference to visual art

• Fantastic realism
• Neosurrealism
• Romantic conceptualism
• New Objectivity
• Metaphysical art

With reference to both

• Surrealism
• Metarealism
• Postmodernism

External links

• Ten Dreams Galleries - A comprehensive discussion of the historical development of Magic Realism in painting
• The Magic Realism Time Capsule
• Abrams, M.H. A Glossary of Literary Terms. 8th edition. Heinle., 2004 (now superseded) Page 195, 261 ISBN 978-1413002188
• MagicRealism at TV Tropes