First Blog - Magical Realism (Posted Correctly)

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 transgresses 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 should not involve exact copying but rather innovative construction and creation “to seize 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 believes 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.