Surrealism - сюрреализъм.
Surrealist artists gallery.http://gekosarts.com/Gallery.html?pwi_album_selected=EarlyWorksArtNovel&pwi_albumpage=1
четвъртък, 23 август 2012 г.
Surrealist Art
http://gekosarts.com/Gallery.html?pwi_album_selected=EarlyWorksArtNovel&pwi_albumpage=1
Surrealism And Magic Realism By Georgi Kostadinov gekos
Chess Game By Georgi Kostadinov Gekos
Magic Realism
Oil on canvas 80.5 / 120 cm.
 |
| Chess Game By Georgi Kostadinov Gekos |
Website: http://gekosarts.com
петък, 10 август 2012 г.
събота, 23 юни 2012 г.
Raphael drawings - Raphael Sanzi | RENAISSANCE 1400 - 1800 AD (CE)
Raphael drawings - Raphael Sanzi
The execution of a vast number of studies in a variety of techniques was Raphael's standard practice. In an elaborate process, he first made rapid sketches, then more finished drawings and finally highly polished models for transfer. The number of the extant drawings is over four hundred, however, this is only a fraction of the quantity he produced. There was a variety of drawing media and techniques practiced in his time, and he explored and mastered all his options.
During his association with Perugino's workshop he acquired proficiency in the use of silverpoint, a method in which the metal tip of a stylus is worked on a prepared ground applied to the paper. It is a highly disciplined procedure that demands superior skill. Raphael displayed great virtuosity with silverpoint, and continued its use into his mature period.
Raphael first used pen and ink extensively in the period after 1505, when he was open to the influence of Leonardo's and Michelangelo's approaches to drawing. Drawings in pen and ink often combined washes in ink or lead white, applied with a brush, in order to add tonal qualities.
Raphael employed black chalk from the time of his earliest drawings, while he came to the consistent use of red chalk later in his work, starting from around 1514. Red chalk can be sharpened to a hard point and handled like a stylus; manipulated differently, it renders very delicate and extensive modulations of tone. In some of Raphael's studies, outlines from a stylus lie under the red chalk drawing.
Drawings had a crucial function in the realization of Raphael's art. They were not only the patterns for final works, but the means of their development; they shaped the creative process at the same time as they documented it. And, considering the vast projects executed collaboratively, they were the guarantee of the identification of the final product with the master who conceived the design.
Raphael drawings - Raphael Sanzi | RENAISSANCE 1400 - 1800 AD (CE)
The execution of a vast number of studies in a variety of techniques was Raphael's standard practice. In an elaborate process, he first made rapid sketches, then more finished drawings and finally highly polished models for transfer. The number of the extant drawings is over four hundred, however, this is only a fraction of the quantity he produced. There was a variety of drawing media and techniques practiced in his time, and he explored and mastered all his options.
During his association with Perugino's workshop he acquired proficiency in the use of silverpoint, a method in which the metal tip of a stylus is worked on a prepared ground applied to the paper. It is a highly disciplined procedure that demands superior skill. Raphael displayed great virtuosity with silverpoint, and continued its use into his mature period.
Raphael first used pen and ink extensively in the period after 1505, when he was open to the influence of Leonardo's and Michelangelo's approaches to drawing. Drawings in pen and ink often combined washes in ink or lead white, applied with a brush, in order to add tonal qualities.
Raphael employed black chalk from the time of his earliest drawings, while he came to the consistent use of red chalk later in his work, starting from around 1514. Red chalk can be sharpened to a hard point and handled like a stylus; manipulated differently, it renders very delicate and extensive modulations of tone. In some of Raphael's studies, outlines from a stylus lie under the red chalk drawing.
Drawings had a crucial function in the realization of Raphael's art. They were not only the patterns for final works, but the means of their development; they shaped the creative process at the same time as they documented it. And, considering the vast projects executed collaboratively, they were the guarantee of the identification of the final product with the master who conceived the design.
Raphael drawings - Raphael Sanzi | RENAISSANCE 1400 - 1800 AD (CE)
петък, 25 май 2012 г.
Armando de Stefano
Napoli, 1926
Autentica personalità dell'arte napoletana, Armando De Stefano fu attore di primo piano in tutti gli avvenimenti artistici della città dal 1947 in poi. Con la pittura, l'artista è tornato al nostro migliore Seicento, risciacquandolo nelle acque di una percezione modernissima del "reale": il ribaltamento in avanti della prospettiva, la riduzione dell'ambiente in atmosfera d'assenza, la iterazione delle figure, l'inserimento improvviso di elementi estranei o di partiture spaziali. I personaggi assumono una incombenza quasi ossessiva, le presenze significanti rendono più esplicito il richiamo al presente, le iterazioni svelano sdoppiamenti psicologici o momenti di una medesima vicenda, i volti sono altrettanti specchi nei quali è possibile riconoscersi. Armando De Stefano ha continuato a guardare il mondo come realtà in divenire, costituita dagli uomini con i loro problemi insoluti o insolubili e dalle situazioni da essi cagionate o patite; ha continuato ad interpretare la vita sociale non come "banalità" nella quale si cerca di annegare il problema dell'esistenza, ma come fenomeno di cui si è partecipi e che postula, pertanto, una relazione; ha continuato a fare parte della società, respingendo formule di mera operazione o di ricerca parascientifica.
Armando De Stefano è nato nel 1926 a Napoli, dove tuttora vive ed insegna all'Accademia di Belle Arti. Inizia la sua attività artistica nel 1947 dando vita con altri sei pittori napoletani al "Gruppo Sud". Le sue opere presentano una verità poetica capace di aprirsi all'invenzione, alla fantasia, al sogno, e soprattutto a quella trama di immagini e di richiami culturali che sono il tessuto di ogni opera d'arte. Il realismo è il suo credo pittorico e niente gli è più congeniale della sua ricerca sul concreto, sul dato di fatto, sia esso quotidiano o storico. Ma la sua opera stenta a collocarsi all'interno della corrente realista, priva com'è di quelle caratteristiche di scuola ( il gusto per la denuncia, la tendenza per il manifesto, una certa dose di populismo), che sono distintivi di quella stagione. De Stefano ha sempre lasciato spazio ala sua ricerca formale e alla cura di quei valori figurativi, che per lui sono la base della buona pittura. Gli anni dal '56 al 61 lo vedono impegnato in un'area che per molti aspetti si richiama a quella dell'Espressionismo materico e astratto: In apparenza un vero cambio di rotta senza rinunciare ,però, mai all'immagine. La quale non scompare, ma si fa materia, segno, affiora dalle sovrapposizione dei colori o ne resta sommersa, ma in ogni caso è presente. Ma dal '62 De Stefano riscopre il piacere del ritorno alla pittura d'immagini, con quanto di popolare e narrativo essa è capace di esprimere. Siamo alla nascita dei grandi cicli, che dall'Inquisizione a Masaniello alla Rivoluzione napoletana del '99, hanno impegnato non solo questi ultimi anni di attività dell'artista, ma i fatti più drammatici e anticipatori della nostra storia.
ARMANDO DE STEFANO (Napoli, 1926)
петък, 18 май 2012 г.
Magical realism by Georgi Kostadinov Gekos
Fantastic Realism, Magic Realism, Surrealism…
Gallery: http://gekosarts.com/
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Tempera, acrylic on canvas
Georgi Kostadinov Gekos web site: http://gekosarts.com/
Malekurs / Tegnekurs: http://gekos.no/
Gallery: http://gekosarts.com/
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Georgi Kostadinov Gekos
Tempera, acrylic on canvas
Tempera, acrylic on canvas
Georgi Kostadinov Gekos web site: http://gekosarts.com/
Malekurs / Tegnekurs: http://gekos.no/
вторник, 24 април 2012 г.
Claudia Giraudo
Claudia Giraudo
"
Fissare sulla tela l’istante in cui il Sogno e la Realtà si compenetrano altalenandosi, sembra essere la priorità attuale per Claudia Giraudo, artista nata nel 1974 a Torino, luogo in cui tuttora risiede e collabora attivamente con l’atelier Bottega Indaco. Il diploma ottenuto nel 2001 presso l’Accademia Albertina di Belle Arti di Torino, avvia una ricerca intimista che si concentra sul volto come tramite di un messaggio.
Coinvolgendo in parte il vissuto personale, ma caricandolo di un messaggio da decriptare, è come se l’artista parlasse una lingua sconosciuta che lo spettatore deve tradurre alla luce delle proprie personali esperienze e conoscenze. Attraverso i suoi simboli, la Giraudo poggia delicatamente sulla tela soggetti che, resi messaggeri, ci appaiono eterei, evanescenti, attori, spiriti dell’aria, ed in aria si son tutti dissolti, in un’aria sottile ed impalpabile.
E come attori inconsapevoli del ruolo che assumono, i soggetti di Claudia Giraudo si muovono su fondali movimentati da un sostrato materico che è anche onirico, quasi a ricordarci che siamo fatti anche noi della stoffa di cui son fatti i sogni; e nello spazio e nel tempo d’un sogno è racchiusa la nostra breve vita.
"
MAGICAL REALISM
MAGICAL REALISM"Reality is not always probable, or
likely."
----Jorge Luis Borges
likely."
----Jorge Luis Borges
I attribute no special value to the title “magical realism.”
-‐‑-‐‑-‐‑-‐‑ Fritz Roh
In 1925, Fritz Roh coined the term “Magischer Realismus”
to describe a new impetus in art, which eclipsed
Expressionism, and represented a return to realism, albeit
with a new emphasis. He adds that in this new realism “the
mystery does not descend to the represented world, but rather hides and palpitates behind it...”
-‐‑-‐‑-‐‑-‐‑ Fritz Roh
In 1925, Fritz Roh coined the term “Magischer Realismus”
to describe a new impetus in art, which eclipsed
Expressionism, and represented a return to realism, albeit
with a new emphasis. He adds that in this new realism “the
mystery does not descend to the represented world, but rather hides and palpitates behind it...”
•
Roh identified many artists as “magical realists.” Though all unique, Roh provided a unifying definition for this group of artists. Magical Realism--We recognize the world, although now--not only because we have emerged from a dream--we look on it with new eyes. 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. This [art offers a] calm admiration of the magic of being, of the discovery that things already have their own faces, [this] means that the ground in which the most diverse ideas in the world can
take root has been reconquered--albeit in new ways. For the new art it is a question of representing before our eyes, in an intuitive way, the fact, the interior figure, of the exterior world. (Franz Roh, Magic Realism: Post-Expressionism (1925).Magical Realism. Ed. L. P. Zamora and W. B. Faris. Durham: Duke UP, 1995. p. 15-32.)
De Chirico
The Disturbing Muses
The C
ild’s Brain
h
George Schrimpf
George Grosz
The Hero
Three Human Beings
Otto Dix
The Triumph of Death
From Art to Literature
• Fritz Roh’s 1925 essay made its way across the Atlantic in translation, and was appropriated by Latin American writers to describe a literary form that seemed peculiarly New World.
• Fritz Roh’s 1925 essay made its way across the Atlantic in translation, and was appropriated by Latin American writers to describe a literary form that seemed peculiarly New World.
Connecting Art and Literature
• Irene Guenther states “This appropriation of a pictorial term by literary critics has been facilitated by the pliant meanings of both ‘magic’ and ‘realism’ and the ambivalence with which Roh first presented Magic Realism.”
• Irene Guenther states “This appropriation of a pictorial term by literary critics has been facilitated by the pliant meanings of both ‘magic’ and ‘realism’ and the ambivalence with which Roh first presented Magic Realism.”
Lo Real Maravilloso Americano – Alejo Carpentier
• “The marvelous begins to be unmistakably marvelous when it arises from an unexpected alteration of reality (the miracle)... The marvelous real that I defend and that is our own marvelous real is encountered in its raw state, latent and omnipresent, in all that is Latin American...”
• “dictionaries tell us that the marvelous ...is extraordinary, excellent, formidable. And that is joined to the notion that everything marvelous must be beautiful,lovely, pleasant, when the only thing that should be gleaned from the dictionaries’ definitions is a reference to the extraordinary...The extraordinary is ...neither beautiful nor ugly... it is amazing because it is strange.”
• “dictionaries tell us that the marvelous ...is extraordinary, excellent, formidable. And that is joined to the notion that everything marvelous must be beautiful,lovely, pleasant, when the only thing that should be gleaned from the dictionaries’ definitions is a reference to the extraordinary...The extraordinary is ...neither beautiful nor ugly... it is amazing because it is strange.”
More from Carpentier
• “Everything strange, • everything amazing, everything that
eludes established norms is
marvelous...”
• “After all, what is the entire history of
• “Everything strange, • everything amazing, everything that
eludes established norms is
marvelous...”
• “After all, what is the entire history of
America if not a chronicle of the marvelous real?”
Angel Flores
• “Inmagicalrealismwe • find the transformation of
the common and the everyday into the
awesome and the unreal. It is predominantly an art of surprises. Time exists in a kind of timeless fluidity and the unreal happens as part of reality. Once the reader accepts the fait accompli, the rest follows with logical precision.”
Richard Prehn/ZXORB
the common and the everyday into the
awesome and the unreal. It is predominantly an art of surprises. Time exists in a kind of timeless fluidity and the unreal happens as part of reality. Once the reader accepts the fait accompli, the rest follows with logical precision.”
Richard Prehn/ZXORB
Luis Leal
• In magical realism the writer • confronts reality and tries to untangle it, to discover what is mysterious in things, in life, in human acts. The principle
thing is not the creation of imaginary beings or worlds but the discovery of the mysterious relationship between man and his circumstances. In magical realism key events have no logical or psychological explanation. The magical realist does not try to copy the surrounding reality or to wound it but to seize the mystery that breathes behind things.
Appia • In magical realism the writer • confronts reality and tries to untangle it, to discover what is mysterious in things, in life, in human acts. The principle
thing is not the creation of imaginary beings or worlds but the discovery of the mysterious relationship between man and his circumstances. In magical realism key events have no logical or psychological explanation. The magical realist does not try to copy the surrounding reality or to wound it but to seize the mystery that breathes behind things.
Amaryll Chanady
• “Magical realism • offers a multifaceted fiction that
incorporates
metropolis thinking, rejects some components of it, and also incorporates and shapes the traditions of indigenous cultures”
• “Magical realism • offers a multifaceted fiction that
incorporates
metropolis thinking, rejects some components of it, and also incorporates and shapes the traditions of indigenous cultures”
Scott Simpkins
• “Garcia Marquez maintains • that realism is a kind of premeditated literature that
offers too static and exclusive
a vision of reality. However good or bad they may be, they are books which finish on the last page. Disproportion is part of our reality too. Our reality is in itself all out of proportion.
In other words, Garcia Marquez suggests that the magic text is, paradoxically, more realistic than the realist text.”
• “Garcia Marquez maintains • that realism is a kind of premeditated literature that
offers too static and exclusive
a vision of reality. However good or bad they may be, they are books which finish on the last page. Disproportion is part of our reality too. Our reality is in itself all out of proportion.
In other words, Garcia Marquez suggests that the magic text is, paradoxically, more realistic than the realist text.”
Fredric Jameson
• “Magical realism--is not a realism to be transfigured by the supplement of a magical perspective, but a reality which is already in and of itself magical or fantastic.” |
Kathleen Toelke
|
Patricia Merivale
• “Rushdiesees'Elrealismo magical, magic realism, at least as practiced by [Garcia] Marquez, [as] a development out of Surrealism that expresses a genuinely Third World consciousness. [Magical realism] is a way of showing reality more truly with the marvelous aid of metaphor.”
Thomas Woodruffe
David Mikics
• “Magicalrealismturnsouttobepartofatwentieth- century preoccupation with how our ways of being in the world resist capture by the traditional logic of the waking mind's reason.The magical realists' project to reveal the intimate interdependence between reality and fantasy is shared by modernists, but magical realism and modernism proceed by different means. Magical realism wills a transformation of the object of representation, rather than the means of representation. Magical realism, like the uncanny projects a mesmerizing uncertainty suggesting that ordinary life may also be the scene of the extraordinary.”
• “Magicalrealismturnsouttobepartofatwentieth- century preoccupation with how our ways of being in the world resist capture by the traditional logic of the waking mind's reason.The magical realists' project to reveal the intimate interdependence between reality and fantasy is shared by modernists, but magical realism and modernism proceed by different means. Magical realism wills a transformation of the object of representation, rather than the means of representation. Magical realism, like the uncanny projects a mesmerizing uncertainty suggesting that ordinary life may also be the scene of the extraordinary.”
Struggling for Definition
-
Magic realist novels and stories have, typically, a strong narrative drive, in which the recognizably realistic merges with the unexpected and the inexplicable and in which elements of dreams, fairy story, or mythology combine with the everyday, often in a mosaic or kaleidoscopic pattern of refraction and recurrence. (Oxford Companion to English Literature)
-
Magic realism--the result of a unique fusion of the beliefs and superstitions of different cultural groups that included the Hispanic conqueror, his criollo (creole) descendants, the native peoples and the African slaves. Magic realism, like myth, also provides an essentially synthetic or totalizing way of depicting reality. It was firmly grounded in daily reality and expressed man's astonishment before the wonders of the real world, [and] convey[s] a vision of the fantastic features of reality. (Encyclopedia of World Literature in the Twentieth Century)
•
Magic realism--a fantastic situation is realistically treated [discussed only in terms of
German Literature] (Macmillan Guide to Modern Literature, Martin Seymour-Smith, ed.)
...And Struggling
• Magic realism--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 phantasmagoric political realities of the 20th century. (The Concise Oxford Dictionary of Literary Terms)
Magic realism--[is characterized by] the mingling and juxtaposition of the realistic and the fantastic, bizarre and skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the elements of surprise or abrupt shock, the horrific and the inexplicable. (A Dictionary of Literary Terms and Literary Theory)
Magic realism--the capacity to enrich our idea of what is 'real' by incorporating all dimensions of the imagination, particularly as expressed in magic, myth and religion. (Benet's Reader's Encyclopedia)
• Magic realism--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 phantasmagoric political realities of the 20th century. (The Concise Oxford Dictionary of Literary Terms)
Magic realism--[is characterized by] the mingling and juxtaposition of the realistic and the fantastic, bizarre and skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the elements of surprise or abrupt shock, the horrific and the inexplicable. (A Dictionary of Literary Terms and Literary Theory)
Magic realism--the capacity to enrich our idea of what is 'real' by incorporating all dimensions of the imagination, particularly as expressed in magic, myth and religion. (Benet's Reader's Encyclopedia)
Wendy Faris suggests five primary characteristics of Magical realist fiction
• Thetextcontainsan“irreducibleelementofmagic, something we cannot explain according to the laws of the universe as we know them
• Descriptionsdetailastrongpresenceofthephenomenal world.
• Thereadermayhesitate...betweentwocontradictory understandings of events – and hence experiences some unsettling doubt.
• Weexperiencetheclosenessornear-mergingoftwo
• Thetextcontainsan“irreducibleelementofmagic, something we cannot explain according to the laws of the universe as we know them
• Descriptionsdetailastrongpresenceofthephenomenal world.
• Thereadermayhesitate...betweentwocontradictory understandings of events – and hence experiences some unsettling doubt.
• Weexperiencetheclosenessornear-mergingoftwo
realms, two worlds.
• Thesefictionsquestionsreceivedideasabouttime,space and identity.
• Thesefictionsquestionsreceivedideasabouttime,space and identity.
Making Connections
• Magicalrealisttextstend to occur at points of intersection – at margins – at disputed spaces – in zones which lack comfort – in places where the familiar coincides with the uncanny; with the accompanying frisson of fear that comes with suddenly being lost.
• Magicalrealisttextstend to occur at points of intersection – at margins – at disputed spaces – in zones which lack comfort – in places where the familiar coincides with the uncanny; with the accompanying frisson of fear that comes with suddenly being lost.
•
Margins exist between human cultures and technology... Besides black art, there is only automation and mechanization. The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.
---Frederico Garcia Lorca
•
Frank Rosazy
...Between the mind and the body
• The human head is bigger than the globe. It conceives itself as containing more. It can think and rethink itself and ourselves from any desired point outside the gravitational pull of the earth. It starts by writing one thing and later reads itself as something else. The
human head is monstrous.
• ----Gunter Grass
• The human head is bigger than the globe. It conceives itself as containing more. It can think and rethink itself and ourselves from any desired point outside the gravitational pull of the earth. It starts by writing one thing and later reads itself as something else. The
human head is monstrous.
• ----Gunter Grass
...Between the past and the future
Reality is a question of • perspective; the further
you get from the past,
the more concrete and plausible it seems --but
as you approach the present, it inevitably seems incredible.
Reality is a question of • perspective; the further
you get from the past,
the more concrete and plausible it seems --but
as you approach the present, it inevitably seems incredible.
---Salman Rushdie
...Between Science and Imagination
On a day like today, my master William Faulkner said, "I decline to accept the end of man." I would fall unworthy of standing in this place that was his, if I were not fully aware that the colossal tragedy he refused to recognize thirty-two years ago is now, for the first time since the beginning of humanity, nothing more than a simple scientific possiblity.
On a day like today, my master William Faulkner said, "I decline to accept the end of man." I would fall unworthy of standing in this place that was his, if I were not fully aware that the colossal tragedy he refused to recognize thirty-two years ago is now, for the first time since the beginning of humanity, nothing more than a simple scientific possiblity.
...Between finite and infinite time • (Image by the Great
•
• "I am the one who never has unraveled the labyrinth of time.“
Quail)
• "I am the one who never has unraveled the labyrinth of time.“
Quail)
• ----Jorge Luis Borges
In Conclusion
• Magicalrealismisnot limited to specific political or cultural identity. It emerges out of the anxiety surrounding cultural interaction, political unrest, technological advances, and the angst of human uncertainty about the universe.
“I Told You So” – Ed Miracle
•
MAGICAL REALISM
"Reality is not always probable, or
likely."
----Jorge Luis Borges
"Reality is not always probable, or
likely."
----Jorge Luis Borges
I attribute no special value to the title “magical realism.”
-‐‑-‐‑-‐‑-‐‑ Fritz Roh
In 1925, Fritz Roh coined the term “Magischer Realismus”
to describe a new impetus in art, which eclipsed
Expressionism, and represented a return to realism, albeit
with a new emphasis. He adds that in this new realism “the
mystery does not descend to the represented world, but rather hides and palpitates behind it...”
-‐‑-‐‑-‐‑-‐‑ Fritz Roh
In 1925, Fritz Roh coined the term “Magischer Realismus”
to describe a new impetus in art, which eclipsed
Expressionism, and represented a return to realism, albeit
with a new emphasis. He adds that in this new realism “the
mystery does not descend to the represented world, but rather hides and palpitates behind it...”
•
Roh identified many artists as “magical realists.” Though all unique, Roh provided a unifying definition for this group of artists. Magical Realism--We recognize the world, although now--not only because we have emerged from a dream--we look on it with new eyes. 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. This [art offers a] calm admiration of the magic of being, of the discovery that things already have their own faces, [this] means that the ground in which the most diverse ideas in the world can
take root has been reconquered--albeit in new ways. For the new art it is a question of representing before our eyes, in an intuitive way, the fact, the interior figure, of the exterior world. (Franz Roh, Magic Realism: Post-Expressionism (1925).Magical Realism. Ed. L. P. Zamora and W. B. Faris. Durham: Duke UP, 1995. p. 15-32.)
De Chirico
The Disturbing Muses
The C
ild’s Brain
h
George Schrimpf
George Grosz
The Hero
Three Human Beings
Otto Dix
The Triumph of Death
From Art to Literature
• Fritz Roh’s 1925 essay made its way across the Atlantic in translation, and was appropriated by Latin American writers to describe a literary form that seemed peculiarly New World.
• Fritz Roh’s 1925 essay made its way across the Atlantic in translation, and was appropriated by Latin American writers to describe a literary form that seemed peculiarly New World.
Connecting Art and Literature
• Irene Guenther states “This appropriation of a pictorial term by literary critics has been facilitated by the pliant meanings of both ‘magic’ and ‘realism’ and the ambivalence with which Roh first presented Magic Realism.”
• Irene Guenther states “This appropriation of a pictorial term by literary critics has been facilitated by the pliant meanings of both ‘magic’ and ‘realism’ and the ambivalence with which Roh first presented Magic Realism.”
Lo Real Maravilloso Americano – Alejo Carpentier
• “The marvelous begins to be unmistakably marvelous when it arises from an unexpected alteration of reality (the miracle)... The marvelous real that I defend and that is our own marvelous real is encountered in its raw state, latent and omnipresent, in all that is Latin American...”
• “dictionaries tell us that the marvelous ...is extraordinary, excellent, formidable. And that is joined to the notion that everything marvelous must be beautiful,lovely, pleasant, when the only thing that should be gleaned from the dictionaries’ definitions is a reference to the extraordinary...The extraordinary is ...neither beautiful nor ugly... it is amazing because it is strange.”
• “dictionaries tell us that the marvelous ...is extraordinary, excellent, formidable. And that is joined to the notion that everything marvelous must be beautiful,lovely, pleasant, when the only thing that should be gleaned from the dictionaries’ definitions is a reference to the extraordinary...The extraordinary is ...neither beautiful nor ugly... it is amazing because it is strange.”
More from Carpentier
• “Everything strange, • everything amazing, everything that
eludes established norms is
marvelous...”
• “After all, what is the entire history of
• “Everything strange, • everything amazing, everything that
eludes established norms is
marvelous...”
• “After all, what is the entire history of
America if not a chronicle of the marvelous real?”
Angel Flores
• “Inmagicalrealismwe • find the transformation of
the common and the everyday into the
awesome and the unreal. It is predominantly an art of surprises. Time exists in a kind of timeless fluidity and the unreal happens as part of reality. Once the reader accepts the fait accompli, the rest follows with logical precision.”
Richard Prehn/ZXORB
the common and the everyday into the
awesome and the unreal. It is predominantly an art of surprises. Time exists in a kind of timeless fluidity and the unreal happens as part of reality. Once the reader accepts the fait accompli, the rest follows with logical precision.”
Richard Prehn/ZXORB
Luis Leal
• In magical realism the writer • confronts reality and tries to untangle it, to discover what is mysterious in things, in life, in human acts. The principle
thing is not the creation of imaginary beings or worlds but the discovery of the mysterious relationship between man and his circumstances. In magical realism key events have no logical or psychological explanation. The magical realist does not try to copy the surrounding reality or to wound it but to seize the mystery that breathes behind things.
Appia • In magical realism the writer • confronts reality and tries to untangle it, to discover what is mysterious in things, in life, in human acts. The principle
thing is not the creation of imaginary beings or worlds but the discovery of the mysterious relationship between man and his circumstances. In magical realism key events have no logical or psychological explanation. The magical realist does not try to copy the surrounding reality or to wound it but to seize the mystery that breathes behind things.
Amaryll Chanady
• “Magical realism • offers a multifaceted fiction that
incorporates
metropolis thinking, rejects some components of it, and also incorporates and shapes the traditions of indigenous cultures”
• “Magical realism • offers a multifaceted fiction that
incorporates
metropolis thinking, rejects some components of it, and also incorporates and shapes the traditions of indigenous cultures”
Scott Simpkins
• “Garcia Marquez maintains • that realism is a kind of premeditated literature that
offers too static and exclusive
a vision of reality. However good or bad they may be, they are books which finish on the last page. Disproportion is part of our reality too. Our reality is in itself all out of proportion.
In other words, Garcia Marquez suggests that the magic text is, paradoxically, more realistic than the realist text.”
• “Garcia Marquez maintains • that realism is a kind of premeditated literature that
offers too static and exclusive
a vision of reality. However good or bad they may be, they are books which finish on the last page. Disproportion is part of our reality too. Our reality is in itself all out of proportion.
In other words, Garcia Marquez suggests that the magic text is, paradoxically, more realistic than the realist text.”
Fredric Jameson
• “Magical realism--is not a realism to be transfigured by the supplement of a magical perspective, but a reality which is already in and of itself magical or fantastic.” |
Kathleen Toelke
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Patricia Merivale
• “Rushdiesees'Elrealismo magical, magic realism, at least as practiced by [Garcia] Marquez, [as] a development out of Surrealism that expresses a genuinely Third World consciousness. [Magical realism] is a way of showing reality more truly with the marvelous aid of metaphor.”
Thomas Woodruffe
David Mikics
• “Magicalrealismturnsouttobepartofatwentieth- century preoccupation with how our ways of being in the world resist capture by the traditional logic of the waking mind's reason.The magical realists' project to reveal the intimate interdependence between reality and fantasy is shared by modernists, but magical realism and modernism proceed by different means. Magical realism wills a transformation of the object of representation, rather than the means of representation. Magical realism, like the uncanny projects a mesmerizing uncertainty suggesting that ordinary life may also be the scene of the extraordinary.”
• “Magicalrealismturnsouttobepartofatwentieth- century preoccupation with how our ways of being in the world resist capture by the traditional logic of the waking mind's reason.The magical realists' project to reveal the intimate interdependence between reality and fantasy is shared by modernists, but magical realism and modernism proceed by different means. Magical realism wills a transformation of the object of representation, rather than the means of representation. Magical realism, like the uncanny projects a mesmerizing uncertainty suggesting that ordinary life may also be the scene of the extraordinary.”
Struggling for Definition
-
Magic realist novels and stories have, typically, a strong narrative drive, in which the recognizably realistic merges with the unexpected and the inexplicable and in which elements of dreams, fairy story, or mythology combine with the everyday, often in a mosaic or kaleidoscopic pattern of refraction and recurrence. (Oxford Companion to English Literature)
-
Magic realism--the result of a unique fusion of the beliefs and superstitions of different cultural groups that included the Hispanic conqueror, his criollo (creole) descendants, the native peoples and the African slaves. Magic realism, like myth, also provides an essentially synthetic or totalizing way of depicting reality. It was firmly grounded in daily reality and expressed man's astonishment before the wonders of the real world, [and] convey[s] a vision of the fantastic features of reality. (Encyclopedia of World Literature in the Twentieth Century)
•
Magic realism--a fantastic situation is realistically treated [discussed only in terms of
German Literature] (Macmillan Guide to Modern Literature, Martin Seymour-Smith, ed.)
...And Struggling
• Magic realism--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 phantasmagoric political realities of the 20th century. (The Concise Oxford Dictionary of Literary Terms)
Magic realism--[is characterized by] the mingling and juxtaposition of the realistic and the fantastic, bizarre and skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the elements of surprise or abrupt shock, the horrific and the inexplicable. (A Dictionary of Literary Terms and Literary Theory)
Magic realism--the capacity to enrich our idea of what is 'real' by incorporating all dimensions of the imagination, particularly as expressed in magic, myth and religion. (Benet's Reader's Encyclopedia)
• Magic realism--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 phantasmagoric political realities of the 20th century. (The Concise Oxford Dictionary of Literary Terms)
Magic realism--[is characterized by] the mingling and juxtaposition of the realistic and the fantastic, bizarre and skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the elements of surprise or abrupt shock, the horrific and the inexplicable. (A Dictionary of Literary Terms and Literary Theory)
Magic realism--the capacity to enrich our idea of what is 'real' by incorporating all dimensions of the imagination, particularly as expressed in magic, myth and religion. (Benet's Reader's Encyclopedia)
Wendy Faris suggests five primary characteristics of Magical realist fiction
• Thetextcontainsan“irreducibleelementofmagic, something we cannot explain according to the laws of the universe as we know them
• Descriptionsdetailastrongpresenceofthephenomenal world.
• Thereadermayhesitate...betweentwocontradictory understandings of events – and hence experiences some unsettling doubt.
• Weexperiencetheclosenessornear-mergingoftwo
• Thetextcontainsan“irreducibleelementofmagic, something we cannot explain according to the laws of the universe as we know them
• Descriptionsdetailastrongpresenceofthephenomenal world.
• Thereadermayhesitate...betweentwocontradictory understandings of events – and hence experiences some unsettling doubt.
• Weexperiencetheclosenessornear-mergingoftwo
realms, two worlds.
• Thesefictionsquestionsreceivedideasabouttime,space and identity.
• Thesefictionsquestionsreceivedideasabouttime,space and identity.
Making Connections
• Magicalrealisttextstend to occur at points of intersection – at margins – at disputed spaces – in zones which lack comfort – in places where the familiar coincides with the uncanny; with the accompanying frisson of fear that comes with suddenly being lost.
• Magicalrealisttextstend to occur at points of intersection – at margins – at disputed spaces – in zones which lack comfort – in places where the familiar coincides with the uncanny; with the accompanying frisson of fear that comes with suddenly being lost.
•
Margins exist between human cultures and technology... Besides black art, there is only automation and mechanization. The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.
---Frederico Garcia Lorca
•
Frank Rosazy
...Between the mind and the body
• The human head is bigger than the globe. It conceives itself as containing more. It can think and rethink itself and ourselves from any desired point outside the gravitational pull of the earth. It starts by writing one thing and later reads itself as something else. The
human head is monstrous.
• ----Gunter Grass
• The human head is bigger than the globe. It conceives itself as containing more. It can think and rethink itself and ourselves from any desired point outside the gravitational pull of the earth. It starts by writing one thing and later reads itself as something else. The
human head is monstrous.
• ----Gunter Grass
...Between the past and the future
Reality is a question of • perspective; the further
you get from the past,
the more concrete and plausible it seems --but
as you approach the present, it inevitably seems incredible.
Reality is a question of • perspective; the further
you get from the past,
the more concrete and plausible it seems --but
as you approach the present, it inevitably seems incredible.
---Salman Rushdie
...Between Science and Imagination
On a day like today, my master William Faulkner said, "I decline to accept the end of man." I would fall unworthy of standing in this place that was his, if I were not fully aware that the colossal tragedy he refused to recognize thirty-two years ago is now, for the first time since the beginning of humanity, nothing more than a simple scientific possiblity.
On a day like today, my master William Faulkner said, "I decline to accept the end of man." I would fall unworthy of standing in this place that was his, if I were not fully aware that the colossal tragedy he refused to recognize thirty-two years ago is now, for the first time since the beginning of humanity, nothing more than a simple scientific possiblity.
...Between finite and infinite time • (Image by the Great
•
• "I am the one who never has unraveled the labyrinth of time.“
Quail)
• "I am the one who never has unraveled the labyrinth of time.“
Quail)
• ----Jorge Luis Borges
In Conclusion
• Magicalrealismisnot limited to specific political or cultural identity. It emerges out of the anxiety surrounding cultural interaction, political unrest, technological advances, and the angst of human uncertainty about the universe.
“I Told You So” – Ed Miracle
•
The Magical Realism of Michael Parkes
Michael Parkes is a master of contemporary magical realism in art. Parkes is a painter, lithographer and sculptor of international repute. In literature, magical realism is associated with the works of Nobel-winning writer Gabriel Garcia Marquez, whose novels One Hundred Years of Solitude (1967) andLove in the Time of Cholera (1985) play with myth and fantasy in their representations of reality. The critic Matthew Strecher defines magical realism as “what happens when a highly detailed, realistic setting is invaded by something too strange to believe.” In Marquez’s fiction, the depiction of everyday human lives takes on allegorical, and even mythic, proportions. Trespassing the boundaries between reality and imagination, magical realism taps into myth and fantasy to offer a deeper version of reality. So does the art of Michael Parkes.Born in the state of Missouri and a graduate of University of Kansas, Michael and his wife travelled all over the world, including to Europe and Asia, where they found a wealth of artistic inspiration. In an interview, Michael states that he’s always had “two loves in [his] life… art and philosophy.” An avid reader of Greek and Roman mythology as well as Eastern philosophy, Michael integrates mythical motifs into his art, similarly to the legendary American painter and illustrator, Maxfield Parrish.
In the lithograph above, called Angel Affair, Parkes harmoniously combines the fantasy of a seductive angel with elements of a Greek goddess and the realism of a man dressed in a business suit. Angel Affair depicts an escape from the mundane reality of work through the promise of a pleasure with no sacrifice: a sensuality that retains its innocence. What may be impossible in real life, becomes possible in the world of of magical realism.
In his magnificent sculptures, Michael Parkes often relies upon characters from Greek and Egyptian mythology to represent not only the unique blend of magic, faith and supernatural explanations of reality that ancient cultures provided, but also the complementarity between masculine and feminine principles. In every domain–drawing, painting, sculpture and lithography–Michael Parkes’ magical realism unites the artistry of life-like representations with ancient cultural symbols that feed our imaginations and offer us an enriching escape into the world of fantasy.
You can view more of Michael Parkes artwork on his website,
Monica Linville
Magical Realism
Monica Linville
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"Magic Carpet Ride" |
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"Dreams" |
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"Jungle Drums" |
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"The Forgiveness Totem" |
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"Night Life, The Crane" |
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"Night Life, The Stallion" |
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"The Genesis Totem" |
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"Seed Pod" |
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