Throughout all of the articles, the authors talked highly of magical realism, the meaning of it,how it was used in art and how it differed between Impressionism, Expressionism, Futurism, and Post-Expressionism.
One of the main points in these articles was magical realism itself. It has grown increasingly overtime, takes many different forms and is something that one should aim for in art. It explores the mystery in life, things and human acts. One important goal of magical relism is to create a painting that consists of both reality and things that you see only in your dreams.
Another important point is painitng. Painting has two main objectives which are to display a pleasingly combined lines, shapes and colors on a painting and to represent objects. These objects should be displayed in an external reality. But, in order to accmplish this external reality vision, external objects must not be used, but instead the painting should be drawn by focusing on the internal aspects in order to produce an external reality. Just as when you are doing a realism painitnig, the real objects must be drawn, but these objects internal history and mysteries must be shwn as well. Realism is not about copying the real objects in front of you onto the painting, but it is about building and creating something that depicts what you are trying to paint. Similarly in realism part of magical realism is not about real, external objects, but it is about focusing on the internal aspects of the objects and showing their deeper meaning. Internal aspects should be the main focus and external imitation should be nonexistent.
The last main point that I thought was important after reading through these articles was about the little, minature units that go into creating a painting of magical realism. Focusing on the minature units and the little aspects of a painting enable an ending result of a great, prodigious product. Just as focusing on the internal aspects to create an external reality, minature units must be used to creat a big and great picture.
Magical realism (Post-expressionism) is an artistic movement that originated in Germany in the 1930’s. The artistic style focuses on distorting the difference between fantasy and reality. Latin American artists have employed this style both through literature and paintings.
Post-expressionism was an important movement in art, allowing artists to move away from reflecting emotions to suggesting the reality of the external world. In expressionism, artists sought to portray and communicate their ideas and sensations through the objects in their paintings. It was very dynamic, arousing, and ecstatic and displayed rather distorted objects. Expressionism was often religious and brought out dark and ominous moods in the viewer. Post-Expressionism, however, was quieter, smoother, and more representative than Expressionism. It also introduced the feeling of space into art. Artists became more concerned with spatiality and focused on developing depth in the art.
The best new paintings are comprised of a few characteristics from historical art. The art reveals a constant surface with depth and distance. Doing so draws the viewer into the picture and creates a sense of reality.
In Latin American post-expressionism, it is often found that realism and romanticism are closely bound to one another. This can be partly attributed to the strong Spanish influences present in Latin America. Similar to painting styles in post-expressionism, literature depends strongly on having the unreal occur as reality.
Magical realism carefully constructs logical and believable plots and paintings with a twist of magic and unrealism. All boundaries are blurred and erased in an attempt experience the world from different points of view.
In constructing definitions and ideas about magical realism, Franz Roh focuses on the pictorial characteristics of magical realism, while Angel Flores and Luis Leal discuss the literary aspects of magical realism. While the authors may differ in their art form, they have a general agreement about the theme and distinctiveness of magical realism as a whole. Magical realism, neither fantasy nor supernatural, does not waste its time focusing on “imagined worlds” (Leal, p. 121) or unrealistic dreams; its uniqueness branches from its mundane yet enigmatic nature that manages to transgress worldly boundaries in an attempt to exemplify the mysteries in life, leading to new revelations and unraveling truths about the world. In a painting or literary work, a seemingly “normal” setting could be invaded by something totally surprising or unconceivable, causing people to completely stop and think about the matter at hand. Magical realism is “the transformation of the common and the everyday into the awesome and the unreal” (Flores, p. 114).
Unlike Impressionism or Expressionism that focuses more on the superficial appearances of objects in terms of colors, shapes, and forms, magical realism revolves around emotions and feelings. Magical realism follows the idea that objects in any art work should not solely be portrayed by its exterior but should be spiritually depicted as well, which essentially means to not look at objects from the outside in but from the inside out. To successfully show more than the exterior appearance and dive deeper into the spirit of objects, imitation must be avoided. Magical realists make it of great importance to establish that imitation has no place in magical realism because realistically portraying an object should not involve exact copying but rather innovative construction and creation that “seize[s] the mystery that breathes behind things”(Leal, p. 123). “Only when the creative process achieves its goal from the inside out can it generate new views of reality, which is at the most built in pieces never imitated as a whole” (Roh, p. 25). Looking past an object’s appearance and witnessing its spirit is part of magical realism’s objective to either evoke or express emotions. Roh believes magical realism evokes feelings and “memories of smells and tastes” (Roh, p. 19), while Leal its true goal “is to express emotions, not to evoke them” (Leal, p. 121). Who is right?
A very brief but interesting point made by Roh is the relationship between magical realism and socio-economic class. What socio-economic class does magical realism appeal to? The lower classes burdened with “the monotony of hard labor” has an affinity for “discrete and prudent works,” while the bourgeoisie take a thrill in viewing “lofty and inspired ones” (Roh, p. 18). Magical realism could appeal to the lower classes with its seemingly mundane and “normal” appearance, while the mysterious nature and new truths would attract the bourgeoisie. Could the influences and popularity of magical realism transcend socio-economic boundaries? It is important to know which socio-economic classes participated in magical realism and how they viewed the art works because knowing the audience might help us gain an understanding of why magical realists choose to paint what they paint or write what they write.
Though it may only apply to Roh and his pictorial versions of magical realism, the concept of miniature and monumentality appears to be very important. Both ideas of miniature and monumentality are not limited to the actual size or dimensions of the painting. The importance of each is the meticulous attention to detail and finding meaning and depth in small things. A magical realist can be considered a “monumental” painter even though the painting might be small itself because it focuses on a smaller, meaningful object that evokes emotion rather than on a broad array of objects.
Magic realism doesn’t have a certain definition. It’s meant to be explored on various levels to find the connection with previous styles and at the same time to erase any boundaries between simple processes and phenomenon, such as “mind and body, spirit and matter, life and death, real and imaginary, self and other, male and female.” In any works of art and literature that is based on magic realism the world is different; it seems richer and deeper, full of imaginary events occurring in everyday life. Unlike expressionism, where artists showed their perception of the world very clearly for viewers, the new art is almost hiding the magic behind normal objects. You have to look deeper to find the spirit; you need to truly be open to understand the concept of infinity in that work of art. That’s why it is referred as being magic realism, not mystery realism, because the magic is hidden.
The world in magic realism looks normal, but after seeing the work of expressionists, where the world seems unreal, viewer looks at the new art with a new insight. The paintings are deeper; they are filled with spirituality and miracles, so that people can enjoy the “calm magic of being”. The art doesn’t just show the object, it makes you feel it. Sometimes though, this art can be even perceived as too extreme because of its low levels of sensuality and very exact structure, but it is a different kind of clearness. And again, the spirit of the objects is not to be shown, it’s hiding inside. If you look carefully the painting might revel to you “the idea of creation.” Also, magic realism changes the concept of space. Everything is very exact and shown on a smaller surface. Altogether it’s used to enforce the new way of feeling the art, it makes it more powerful.
On the other hand, in literature magic realism can be more easily detected, because it represents a very real world, where strange things, known only to the imagination of the author, happen. It can be defined as a mix between Romanticism and Realism. The idea of time and space is changed a little, time seems very smooth. Magic events with no logical explanation fill the pages of the book, however at the first look seems like a ordinary real life story. I find it interesting that magic realists consider themselves as very sophisticated and “versed in subtleties” just like the artists. They stay close to reality to avoid their literature becoming an average supernatural fiction.
Magic realism is a term first coined by Roh in 1925. It is a term that doesn't have a distinct definition, yet many agree on certain elements of it. In the three essays the reader is exposed to several different interpretations of magic realism, however, the all the authors seem to agree that magic realism is a mood meant for "exploring-and transgressing- boundaries." While magic realism may be considered "an extension of realism," it resists the assumptions of expressionism.
Unlike Expressionism, the painters of the Post-expressionism era focused to not merely copy an object onto to the canvass, but attempt to invoke emotion in the viewer. Roh focused on the presence of magic realism in the visual world, he sought the return of the representation of mundane objects rather than fantastical ones. While the Expressionism era attempted to realistically portray these fantasy elements, the Post-expressionism movement sought rather to paint ordinary and mundane objects with a sense of mystery and enigma. Unlike Expressionism which focused on the direct and superficial representation of objects, magic realism attempted to express the spirituality of the objects beyond their exterior and allow the viewer to see their hidden magic. Magic realists did not believe in the direct imitation of objects, rather they sought to distort these boundaries to allow the viewer to fully understand the object. Magic realists believed that in order to truly portray an object the artist must stretch reality to allow the viewer to fully appreciate it, both visually and spiritually. Roh believed that “Only when the creative process achieves its goal from the inside out can it generate new views of reality, which is at the most built in pieces never imitated as a whole”
While Franz Roh focuses on the visual characteristics of magic realism, Angel Flores and Luis Leal discuss its literary aspects . While these are artists of different fields they share a general consensus of its general meaning. Magic realism does not attempt to exemplify the imaginary or supernatural world, rather its magical aspect is its ability to transcend the boundaries of normal and rational thought and allow the audience to experience ordinary and mundane aspects of everyday life with a new outlook. Its most prominent feature is its ability to instill in the audience a sense of mystery in the most commonplace object.
Though the authors share a general disagreement on the origins of magical realism, there is a definite, common agreement to the characteristics of this style. It has evolved throughout art history to become characterized by a blend of both real and imaginary elements. There are definite borders between certain concepts like life and death, black and white, small and large; and magical realism blurs the dividing lines. It rejects such concrete structures and forms alternate, mixed ideas. The concept of time is distorted and these works become timeless and cyclical, existing without a definite beginning or end.
Franz Roh coined the term magical realism in his critiques of the new, realistic style art in the Post-Expressionism era in the 1920’s. Roh finds this Post-Expressionism to emphasize the subject or object, around which the feeling and character is then built. The meaning and concepts of the art flow from the inside to out. The art of this new style sought to reintroduce reality, but in alternate, mysterious ways. It blended actual reality with what the artist envisioned as a reality.
Angel Flores approaches magical realism through Latin American literary history. As opposed to general themes or time eras, Flores accepts magical realism to be classified by its ambiguity of elements. Flores states 1935 as the defining year in which magical realism blossomed and the following decade as its strongest triumph. He credits Jorge Luis Borges with starting the movement and influencing its spread across many other countries of Latin America. Flores believes that these magical realist authors seek to transform reality into a unique and different experience. It is magical yet logical, blending what is true and real with what is perceived.
Luis Leal interprets magical realism in regard to Latin American literature as well, but almost in direct contrast with Angel Flores. Leal credits Franz Roh with coining the term ‘magical realism’ during his critique of Post-Expressionist art pieces in the 1920’s. Leal refuses to attach this style to another but instead proposes that it is more of an “attitude toward reality” that is expressed in varied forms. Leal believes that magical realism developed organically over time as a product of human thought, innovation, and experience. It was an eventual realization of one’s place on earth and the mysteries behind it. Magical realists must experience this hidden ambiguity and externalize their sentiments about how they perceive reality.
The article discusses the concept of magical realism in relation to expressionism, impressionism, and post- expressionism. In the first article by Franz Roh, he discusses how magical realism works in paintings. In the other two articles by Angel Flores and Luis Leal, they discuss how magical realism works in literature. Impressionism and Expressionism focus on the apparent look of objects and shapes while magical realism involves emotions and feelings. In Roh's article he wants to emphasize that "mystery does not descend to the represented world but rather hides and palpitates behind it." Basically he is trying to show how there is a deeper meaning behind paintings and it is not just looking at the objects to decide what it means. One must look inside themselves and emotionally connect to the painting to truly understand what it means. Magical Realism does not create "imaginary worlds" yet it tries to untangle the mysterious things in life and in the world. The literature part of Magical Realism is the same concept but is obviously different because it uses writing instead of paintings. Latin American novelists and other short story writers brought about the term "magical realism" into their writing in the 1930s. To understand the literature one must look deeper into the words. By looking into the words one can truly find the meaning and the point behind what is written. Magical Realism makes people view life differently, just as a person would interpret a painting, one would interpret writing differently. There is always a hidden or undiscovered meaning behind paintings and literature and it is up to the person to figure out the mystery.
The term “magic realism” originated in Europe during the 1920's, in the writings of the German art historian Franz Roh. Franz Roh presented magic realism as a reaction to expressionism. Magic realist art placed focus on the object itself, its tactile nature, the special nature its very being as opposed to being used as a means to other ends. Roh writes, "Of the discovery that things already have their own faces, means that the ground in which the most diverse ideas in the world can take root has been reconquered--albeit in new ways"(pg. 16 Paragraph 2)
The fictitious fragments that can be perceived in “magic realism” are often derived from myth or fairy tales associated with an artist's culture. Such works reveal the supernatural world, a painter perceives outside the objective mainstream of a common person. In effect, Magical Realism is a tool to explore the miraculous world from the respective artist's view. Roh's perspective about the mixing of the abstract alongside the real can easily be applied to the literary works that are generally classified contemporary works of “magical realism”.
Flores begins his essay by stating that Latin American literature has been underestimated and unappreciated due to the fact that critics have historically tried, and failed, to put this literature into categories in which it does not fit: realism, romanticism, naturalism, existentialism. Flores suggests that the "roots of this ambivalence are psychological" and begin with European attitudes towards much Spanish literature and visual art.
All three of the articles that made up our reading for this week discuss the definition of the aesthetic style known as magical realism. The first critic, Franz Roh was the first person to use the term magical realism back in the early 1920’s. He puts an emphasis on objectivity being an important aspect of works of art, especially in the painting genre. He equates magical realism to Post-Expressionism and distinguishes them from previous forms of art by the way in which objects are portrayed; he says that objects in magical realism works evoke a tangible feeling, unlike objects found in impressionistic and expressionistic works of art. Roh believes that objectivity is a defining characteristic of how to distinguish between different types of art. For example, magical realism, according to Roh, involves portraying everyday objects in strange and eccentric ways. In essence, the main purpose behind magical realism is to intertwine reality with fantasy. In other words, using everyday objects, shapes, colors and symbols and distorting their size, features or characteristics. Another recurring theme is the meaning of the word magic. Roh, along with the third critic Leal, emphasizes that the term magic, in this sense, does not allude to an extraordinary or mystical influence, people having control over some supernatural power, nor does it allude to a negative term that religious institutions may define it as. Instead, when discussing magical realism, magic refers to producing artistic illusions based on reality and individual perception. The second critic, Angel Flores agrees with Roh when he describes magical realism as being a combination of realism and fantasy. Flores highlights many important Latin American influencers of this type of art which all appeared around the same time in Latin America’s history, namely 1940-1950. The critic continues to give examples of how momentum for magical realism traveled throughout Latin America in his essay. The third essay by Luis Leal reiterates the main theme of the other two essays. This critic discusses how the purpose of magical realism is not to distort reality but rather to express emotions. He goes on to explain that emotions, of course, are different for everyone. That being said, an object or shape that may seem unrealistic or fantastic to one person may be a realistic interpretation of that object to the artist who created that particular work. The purpose of magical realists is not to change their reality but rather to express the deeper, and sometimes hidden, meaning behind it.
All three of the articles that made up our reading for this week discuss the definition of the aesthetic style known as magical realism. One critic, Franz Roh was the first person to use the term magical realism back in the early 1920’s. He puts an emphasis on objectivity as being an important characteristic of art, especially in the painting genre. He equates magical realism to Post-Expressionism and distinguishes them from other forms of art by the way in which objects are portrayed. He says that objects in magic realism works evoke a tangible feeling, unlike objects found in impressionistic or expressionistic works. According to Roh, the main purpose behind magical realism is to intertwine reality with fantasy. One way this can be accomplished through objectivity is by portraying everyday objects in strange and eccentric ways. Roh also explains that magic realism has a “tactile feeling” (19) meaning that it involves much more deeper feelings that just the color and shape of an object – it involves all of our senses and how each sense absorbs and interprets those objects. Consequently, magic realism is not about imitating the simple exterior but rather delving into the deeper meaning of whatever object, person, character or situation is being portrayed. A recurring theme in all three articles is defining the word magic. Roh, along with the third critic Leal, says that magic, in this sense, does not allude to an extraordinary or mystical influence, nor does it allude to a negative term which religious institutions may define it as. Instead, when discussing magical realism, magic refers to producing artistic illusions based on reality and individual perception. The second critic, Angel Flores, agrees with Roh when he describes magical realism as being a combination of realism and fantasy. Flores highlights many important Latin American influencers of magic realism which all appeared around the same time in Latin America’s history, namely 1940-1950. The critic gives many examples of how momentum for magical realism traveled throughout Latin America due to the overwhelming number of influencers that were present during the same time period. The third essay by Luis Leal reiterates the main theme of the other two essays as he discusses how the purpose of magical realism is not to distort reality but rather to express emotions. He points out that emotions are different for everyone and that objects have different meanings depending on who perceives them (121). That being said, an object or shape that may seem unrealistic or fantastic to one person may be a realistic interpretation of that object to the artist who created that particular work. The purpose of magical realists is not to change their reality but rather to express the deeper, and sometimes hidden, meaning behind it.
Throughout all of the articles, the authors talked highly of magical realism, the meaning of it,how it was used in art and how it differed between Impressionism, Expressionism, Futurism, and Post-Expressionism.
ReplyDeleteOne of the main points in these articles was magical realism itself. It has grown increasingly overtime, takes many different forms and is something that one should aim for in art. It explores the mystery in life, things and human acts. One important goal of magical relism is to create a painting that consists of both reality and things that you see only in your dreams.
Another important point is painitng. Painting has two main objectives which are to display a pleasingly combined lines, shapes and colors on a painting and to represent objects. These objects should be displayed in an external reality. But, in order to accmplish this external reality vision, external objects must not be used, but instead the painting should be drawn by focusing on the internal aspects in order to produce an external reality. Just as when you are doing a realism painitnig, the real objects must be drawn, but these objects internal history and mysteries must be shwn as well. Realism is not about copying the real objects in front of you onto the painting, but it is about building and creating something that depicts what you are trying to paint. Similarly in realism part of magical realism is not about real, external objects, but it is about focusing on the internal aspects of the objects and showing their deeper meaning. Internal aspects should be the main focus and external imitation should be nonexistent.
The last main point that I thought was important after reading through these articles was about the little, minature units that go into creating a painting of magical realism. Focusing on the minature units and the little aspects of a painting enable an ending result of a great, prodigious product. Just as focusing on the internal aspects to create an external reality, minature units must be used to creat a big and great picture.
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ReplyDeleteMagical realism (Post-expressionism) is an artistic movement that originated in Germany in the 1930’s. The artistic style focuses on distorting the difference between fantasy and reality. Latin American artists have employed this style both through literature and paintings.
ReplyDeletePost-expressionism was an important movement in art, allowing artists to move away from reflecting emotions to suggesting the reality of the external world. In expressionism, artists sought to portray and communicate their ideas and sensations through the objects in their paintings. It was very dynamic, arousing, and ecstatic and displayed rather distorted objects. Expressionism was often religious and brought out dark and ominous moods in the viewer. Post-Expressionism, however, was quieter, smoother, and more representative than Expressionism. It also introduced the feeling of space into art. Artists became more concerned with spatiality and focused on developing depth in the art.
The best new paintings are comprised of a few characteristics from historical art. The art reveals a constant surface with depth and distance. Doing so draws the viewer into the picture and creates a sense of reality.
In Latin American post-expressionism, it is often found that realism and romanticism are closely bound to one another. This can be partly attributed to the strong Spanish influences present in Latin America. Similar to painting styles in post-expressionism, literature depends strongly on having the unreal occur as reality.
Magical realism carefully constructs logical and believable plots and paintings with a twist of magic and unrealism. All boundaries are blurred and erased in an attempt experience the world from different points of view.
In constructing definitions and ideas about magical realism, Franz Roh focuses on the pictorial characteristics of magical realism, while Angel Flores and Luis Leal discuss the literary aspects of magical realism. While the authors may differ in their art form, they have a general agreement about the theme and distinctiveness of magical realism as a whole. Magical realism, neither fantasy nor supernatural, does not waste its time focusing on “imagined worlds” (Leal, p. 121) or unrealistic dreams; its uniqueness branches from its mundane yet enigmatic nature that manages to transgress worldly boundaries in an attempt to exemplify the mysteries in life, leading to new revelations and unraveling truths about the world. In a painting or literary work, a seemingly “normal” setting could be invaded by something totally surprising or unconceivable, causing people to completely stop and think about the matter at hand. Magical realism is “the transformation of the common and the everyday into the awesome and the unreal” (Flores, p. 114).
ReplyDeleteUnlike Impressionism or Expressionism that focuses more on the superficial appearances of objects in terms of colors, shapes, and forms, magical realism revolves around emotions and feelings. Magical realism follows the idea that objects in any art work should not solely be portrayed by its exterior but should be spiritually depicted as well, which essentially means to not look at objects from the outside in but from the inside out. To successfully show more than the exterior appearance and dive deeper into the spirit of objects, imitation must be avoided. Magical realists make it of great importance to establish that imitation has no place in magical realism because realistically portraying an object should not involve exact copying but rather innovative construction and creation that “seize[s] the mystery that breathes behind things”(Leal, p. 123). “Only when the creative process achieves its goal from the inside out can it generate new views of reality, which is at the most built in pieces never imitated as a whole” (Roh, p. 25). Looking past an object’s appearance and witnessing its spirit is part of magical realism’s objective to either evoke or express emotions. Roh believes magical realism evokes feelings and “memories of smells and tastes” (Roh, p. 19), while Leal its true goal “is to express emotions, not to evoke them” (Leal, p. 121). Who is right?
A very brief but interesting point made by Roh is the relationship between magical realism and socio-economic class. What socio-economic class does magical realism appeal to? The lower classes burdened with “the monotony of hard labor” has an affinity for “discrete and prudent works,” while the bourgeoisie take a thrill in viewing “lofty and inspired ones” (Roh, p. 18). Magical realism could appeal to the lower classes with its seemingly mundane and “normal” appearance, while the mysterious nature and new truths would attract the bourgeoisie. Could the influences and popularity of magical realism transcend socio-economic boundaries? It is important to know which socio-economic classes participated in magical realism and how they viewed the art works because knowing the audience might help us gain an understanding of why magical realists choose to paint what they paint or write what they write.
Though it may only apply to Roh and his pictorial versions of magical realism, the concept of miniature and monumentality appears to be very important. Both ideas of miniature and monumentality are not limited to the actual size or dimensions of the painting. The importance of each is the meticulous attention to detail and finding meaning and depth in small things. A magical realist can be considered a “monumental” painter even though the painting might be small itself because it focuses on a smaller, meaningful object that evokes emotion rather than on a broad array of objects.
Magic realism doesn’t have a certain definition. It’s meant to be explored on various levels to find the connection with previous styles and at the same time to erase any boundaries between simple processes and phenomenon, such as “mind and body, spirit and matter, life and death, real and imaginary, self and other, male and female.” In any works of art and literature that is based on magic realism the world is different; it seems richer and deeper, full of imaginary events occurring in everyday life. Unlike expressionism, where artists showed their perception of the world very clearly for viewers, the new art is almost hiding the magic behind normal objects. You have to look deeper to find the spirit; you need to truly be open to understand the concept of infinity in that work of art. That’s why it is referred as being magic realism, not mystery realism, because the magic is hidden.
ReplyDeleteThe world in magic realism looks normal, but after seeing the work of expressionists, where the world seems unreal, viewer looks at the new art with a new insight. The paintings are deeper; they are filled with spirituality and miracles, so that people can enjoy the “calm magic of being”. The art doesn’t just show the object, it makes you feel it. Sometimes though, this art can be even perceived as too extreme because of its low levels of sensuality and very exact structure, but it is a different kind of clearness. And again, the spirit of the objects is not to be shown, it’s hiding inside. If you look carefully the painting might revel to you “the idea of creation.” Also, magic realism changes the concept of space. Everything is very exact and shown on a smaller surface. Altogether it’s used to enforce the new way of feeling the art, it makes it more powerful.
On the other hand, in literature magic realism can be more easily detected, because it represents a very real world, where strange things, known only to the imagination of the author, happen. It can be defined as a mix between Romanticism and Realism. The idea of time and space is changed a little, time seems very smooth. Magic events with no logical explanation fill the pages of the book, however at the first look seems like a ordinary real life story. I find it interesting that magic realists consider themselves as very sophisticated and “versed in subtleties” just like the artists. They stay close to reality to avoid their literature becoming an average supernatural fiction.
Magic realism is a term first coined by Roh in 1925. It is a term that doesn't have a distinct definition, yet many agree on certain elements of it. In the three essays the reader is exposed to several different interpretations of magic realism, however, the all the authors seem to agree that magic realism is a mood meant for "exploring-and transgressing- boundaries." While magic realism may be considered "an extension of realism," it resists the assumptions of expressionism.
ReplyDeleteUnlike Expressionism, the painters of the Post-expressionism era focused to not merely copy an object onto to the canvass, but attempt to invoke emotion in the viewer. Roh focused on the presence of magic realism in the visual world, he sought the return of the representation of mundane objects rather than fantastical ones. While the Expressionism era attempted to realistically portray these fantasy elements, the Post-expressionism movement sought rather to paint ordinary and mundane objects with a sense of mystery and enigma. Unlike Expressionism which focused on the direct and superficial representation of objects, magic realism attempted to express the spirituality of the objects beyond their exterior and allow the viewer to see their hidden magic. Magic realists did not believe in the direct imitation of objects, rather they sought to distort these boundaries to allow the viewer to fully understand the object. Magic realists believed that in order to truly portray an object the artist must stretch reality to allow the viewer to fully appreciate it, both visually and spiritually. Roh believed that “Only when the creative process achieves its goal from the inside out can it generate new views of reality, which is at the most built in pieces never imitated as a whole”
While Franz Roh focuses on the visual characteristics of magic realism, Angel Flores and Luis Leal discuss its literary aspects . While these are artists of different fields they share a general consensus of its general meaning. Magic realism does not attempt to exemplify the imaginary or supernatural world, rather its magical aspect is its ability to transcend the boundaries of normal and rational thought and allow the audience to experience ordinary and mundane aspects of everyday life with a new outlook. Its most prominent feature is its ability to instill in the audience a sense of mystery in the most commonplace object.
Though the authors share a general disagreement on the origins of magical realism, there is a definite, common agreement to the characteristics of this style. It has evolved throughout art history to become characterized by a blend of both real and imaginary elements. There are definite borders between certain concepts like life and death, black and white, small and large; and magical realism blurs the dividing lines. It rejects such concrete structures and forms alternate, mixed ideas. The concept of time is distorted and these works become timeless and cyclical, existing without a definite beginning or end.
ReplyDeleteFranz Roh coined the term magical realism in his critiques of the new, realistic style art in the Post-Expressionism era in the 1920’s. Roh finds this Post-Expressionism to emphasize the subject or object, around which the feeling and character is then built. The meaning and concepts of the art flow from the inside to out. The art of this new style sought to reintroduce reality, but in alternate, mysterious ways. It blended actual reality with what the artist envisioned as a reality.
Angel Flores approaches magical realism through Latin American literary history. As opposed to general themes or time eras, Flores accepts magical realism to be classified by its ambiguity of elements. Flores states 1935 as the defining year in which magical realism blossomed and the following decade as its strongest triumph. He credits Jorge Luis Borges with starting the movement and influencing its spread across many other countries of Latin America. Flores believes that these magical realist authors seek to transform reality into a unique and different experience. It is magical yet logical, blending what is true and real with what is perceived.
Luis Leal interprets magical realism in regard to Latin American literature as well, but almost in direct contrast with Angel Flores. Leal credits Franz Roh with coining the term ‘magical realism’ during his critique of Post-Expressionist art pieces in the 1920’s. Leal refuses to attach this style to another but instead proposes that it is more of an “attitude toward reality” that is expressed in varied forms. Leal believes that magical realism developed organically over time as a product of human thought, innovation, and experience. It was an eventual realization of one’s place on earth and the mysteries behind it. Magical realists must experience this hidden ambiguity and externalize their sentiments about how they perceive reality.
The article discusses the concept of magical realism in relation to expressionism, impressionism, and post- expressionism. In the first article by Franz Roh, he discusses how magical realism works in paintings. In the other two articles by Angel Flores and Luis Leal, they discuss how magical realism works in literature. Impressionism and Expressionism focus on the apparent look of objects and shapes while magical realism involves emotions and feelings.
ReplyDeleteIn Roh's article he wants to emphasize that "mystery does not descend to the represented world but rather hides and palpitates behind it." Basically he is trying to show how there is a deeper meaning behind paintings and it is not just looking at the objects to decide what it means. One must look inside themselves and emotionally connect to the painting to truly understand what it means. Magical Realism does not create "imaginary worlds" yet it tries to untangle the mysterious things in life and in the world.
The literature part of Magical Realism is the same concept but is obviously different because it uses writing instead of paintings. Latin American novelists and other short story writers brought about the term "magical realism" into their writing in the 1930s. To understand the literature one must look deeper into the words. By looking into the words one can truly find the meaning and the point behind what is written. Magical Realism makes people view life differently, just as a person would interpret a painting, one would interpret writing differently. There is always a hidden or undiscovered meaning behind paintings and literature and it is up to the person to figure out the mystery.
The term “magic realism” originated in Europe during the 1920's, in the writings of the German art historian Franz Roh. Franz Roh presented magic realism as a reaction to expressionism. Magic realist art placed focus on the object itself, its tactile nature, the special nature its very being as opposed to being used as a means to other ends. Roh writes, "Of the discovery that things already have their own faces, means that the ground in which the most diverse ideas in the world can take root has been reconquered--albeit in new ways"(pg. 16 Paragraph 2)
ReplyDeleteThe fictitious fragments that can be perceived in “magic realism” are often derived from myth or fairy tales associated with an artist's culture. Such works reveal the supernatural world, a painter perceives outside the objective mainstream of a common person. In effect, Magical Realism is a tool to explore the miraculous world from the respective artist's view. Roh's perspective about the mixing of the abstract alongside the real can easily be applied to the literary works that are generally classified contemporary works of “magical realism”.
Flores begins his essay by stating that Latin American literature has been underestimated and unappreciated due to the fact that critics have historically tried, and failed, to put this literature into categories in which it does not fit: realism, romanticism, naturalism, existentialism. Flores suggests that the "roots of this ambivalence are psychological" and begin with European attitudes towards much Spanish literature and visual art.
All three of the articles that made up our reading for this week discuss the definition of the aesthetic style known as magical realism. The first critic, Franz Roh was the first person to use the term magical realism back in the early 1920’s. He puts an emphasis on objectivity being an important aspect of works of art, especially in the painting genre. He equates magical realism to Post-Expressionism and distinguishes them from previous forms of art by the way in which objects are portrayed; he says that objects in magical realism works evoke a tangible feeling, unlike objects found in impressionistic and expressionistic works of art. Roh believes that objectivity is a defining characteristic of how to distinguish between different types of art. For example, magical realism, according to Roh, involves portraying everyday objects in strange and eccentric ways. In essence, the main purpose behind magical realism is to intertwine reality with fantasy. In other words, using everyday objects, shapes, colors and symbols and distorting their size, features or characteristics. Another recurring theme is the meaning of the word magic. Roh, along with the third critic Leal, emphasizes that the term magic, in this sense, does not allude to an extraordinary or mystical influence, people having control over some supernatural power, nor does it allude to a negative term that religious institutions may define it as. Instead, when discussing magical realism, magic refers to producing artistic illusions based on reality and individual perception.
ReplyDeleteThe second critic, Angel Flores agrees with Roh when he describes magical realism as being a combination of realism and fantasy. Flores highlights many important Latin American influencers of this type of art which all appeared around the same time in Latin America’s history, namely 1940-1950. The critic continues to give examples of how momentum for magical realism traveled throughout Latin America in his essay.
The third essay by Luis Leal reiterates the main theme of the other two essays. This critic discusses how the purpose of magical realism is not to distort reality but rather to express emotions. He goes on to explain that emotions, of course, are different for everyone. That being said, an object or shape that may seem unrealistic or fantastic to one person may be a realistic interpretation of that object to the artist who created that particular work. The purpose of magical realists is not to change their reality but rather to express the deeper, and sometimes hidden, meaning behind it.
All three of the articles that made up our reading for this week discuss the definition of the aesthetic style known as magical realism. One critic, Franz Roh was the first person to use the term magical realism back in the early 1920’s. He puts an emphasis on objectivity as being an important characteristic of art, especially in the painting genre. He equates magical realism to Post-Expressionism and distinguishes them from other forms of art by the way in which objects are portrayed. He says that objects in magic realism works evoke a tangible feeling, unlike objects found in impressionistic or expressionistic works. According to Roh, the main purpose behind magical realism is to intertwine reality with fantasy. One way this can be accomplished through objectivity is by portraying everyday objects in strange and eccentric ways. Roh also explains that magic realism has a “tactile feeling” (19) meaning that it involves much more deeper feelings that just the color and shape of an object – it involves all of our senses and how each sense absorbs and interprets those objects. Consequently, magic realism is not about imitating the simple exterior but rather delving into the deeper meaning of whatever object, person, character or situation is being portrayed.
ReplyDeleteA recurring theme in all three articles is defining the word magic. Roh, along with the third critic Leal, says that magic, in this sense, does not allude to an extraordinary or mystical influence, nor does it allude to a negative term which religious institutions may define it as. Instead, when discussing magical realism, magic refers to producing artistic illusions based on reality and individual perception.
The second critic, Angel Flores, agrees with Roh when he describes magical realism as being a combination of realism and fantasy. Flores highlights many important Latin American influencers of magic realism which all appeared around the same time in Latin America’s history, namely 1940-1950. The critic gives many examples of how momentum for magical realism traveled throughout Latin America due to the overwhelming number of influencers that were present during the same time period.
The third essay by Luis Leal reiterates the main theme of the other two essays as he discusses how the purpose of magical realism is not to distort reality but rather to express emotions. He points out that emotions are different for everyone and that objects have different meanings depending on who perceives them (121). That being said, an object or shape that may seem unrealistic or fantastic to one person may be a realistic interpretation of that object to the artist who created that particular work. The purpose of magical realists is not to change their reality but rather to express the deeper, and sometimes hidden, meaning behind it.