Things to keep in mind:
The secret of magical realism.
The first recorded use of the term can be found in the work of the German philosopher and poet Novalis, who, in 1798, wrote of two hypothetical kinds of prophets: a magischer Idealist, and a magischer Realist. The discussion—one about idealism and realism—is beyond the scope of this piece, so suffice it to say that the term is then put to sleep for more than a century, until another German, Franz Roh, summoned it in 1925, when discussing a specific vein in German painting of the late 1910s to early 1920s. It is in his book Nach-Expressionismus: Magischer Realismus: Probleme Der Neuesten Europäischen Malerei that magical realism resurfaces, now deployed to explain a distinct return to realism in post-Expressionistic painting. “Magical,” according to Anne Hegerfeldt, is how Roh understands this return—one mediated by “a sense of mystery and unreality.”
Interestingly, the term reappears a year later in Italy, in the work of Massimo Bontempelli, an Italian poet and future secretary of the Fascist Writers’ Union. Whether Bontempelli—who was more interested in fabricating new European “myths” after the hard reset of World War I than with German Idealism or painting—was aware of the work of Novalis and Roh is a matter of debate. But that Bontempelli is looking for “an explanation of mystery and daily life as a miraculous adventure,” in the words of Maryam Asayeh and Mehmet Arargüҫ, and the fact that he was a wordsmith (a fascist poet, that most sado-masochistic of combinations), puts his understanding of the term closer to ours.
—posted 1068 days ago
