Magical Realism in Visual Art

The genre of Magical Realism, though quickly recognized in literature, is also used across the mediums of visual art. This title is claimed by two separate schools of art. Early artists such as Pierre Roy and Giorgio de Chirico use the term to describe heavily detailed meditations on extremely realistic subjects; this hyperrealism creates an understanding of mystery inside of the mundane. This form of Magical Realism is evident in Paulo Coelho’s novel, The Witch of Portobello. Coelho takes culturally accepted levels of spirituality and grants strange religious statements accepted as rote a new life through an exploration in uncomfortably rigorous detail. In a world where there are real estate companies and the Scotland Yard, the titular character connects her consciousness to one “St. Sarah”, partakes in ritual magic dancing, and thoroughly terrifies the church that turned her away for being a divorcee. This wry, sad tale takes an outsider’s look at spirituality without once breaking away from what a sufficiently religious reader would describe as a true reality. Early visual artists of Magical Realism use a form of hyperrealism shared by Coelho to chip away at boring expectations that cloak the truly bizarre world surrounding their audience.

1. Pierre Roy, The Beach (1930).

2. Giorgio de Chirico, Piazza d'Italia (1964).

In the later 20^th century, however, the branch of Magical Realism in the visual arts grew to resemble its literary cousin. A love of detail and focus remained, but overt forms of the fantastic started to enter works labeled as Magical Realism. George Tooker and Frida Kahlo are examples of artists from this modern school. 

3. George Tooker, Waiting Room (1957).

4. Frida Kahlo, Roots (1943).

The changing definition of Magical Realism in visual art brought the works of much earlier artists into the fold, which notably included the fantastic renderings of Biblical visions in the paintings and sketches of Jan van Eyck. The works’ hyperrealistic technique is applied to otherworldly beings and objects, firmly and amusingly placing van Eyck in the later camp of Magical Realism. Its earlier branch, while chronologically more intuitive for van Eyck, was a negative reaction to the reality-warping techniques of Expressionism. 

Katherine Luber’s essay, "Recognizing Van Eyck: Magical Realism in Landscape Painting" (1998), is a light, entertaining, and educational read that covers the modern definition of Magical Realism as found in renaissance art. In down-to-earth text accompanied by high-resolution painting figures, Luber provides a helpful and lush summary of van Eyck’s iconic oil paintings. She debunks the rumors that the artist invented oil painting, but lauds the artist’s startling use of the medium. The “enameled, jewel-like tones” achieved through his technique bring his angels and devils to life with refinement and an otherworldly grace. He creates vast depth in his works through pioneered tricks in perspective and fluid connections. The meticulous and excruciating detail of religious imagery serves to place van Eyck as a commonly recognizable example of the genre. Magical Realism a regular staple of art history classes as an example of a genre that the readers will find is much wider spread and closer to home than they had earlier considered.

5. Jan van Eyck, The Crucifiction; The Last Judgement (1443-40).

Magical Realism, already found in art history class staples and popular literature, now also joins the American public in the box office. Birdman: Or (The Unexpected Virtue of Ignorance), directed by Alejandro Gonzalez Iñárritu, uses otherworldly elements to explore the main character’s mind. While internal monologues are more native to literature than film, Iñárritu skips the soliloquy by forcing the protagonist, Riggan Thomson, to be haunted by his demons in the form of the Birdman. The Birdman, an amusing Batman expy, is Thomson’s former acting role. The Birdman overshadows Thomson’s entire acting career; naturally, the physical embodiment must lurk and glower across the screen, only seen and heard by the hapless actor. The Birdman’s gravel-and-cigarette growls voice Thomson’s delusions of grandeur and worst fears throughout the film, exemplifying the actor’s madness. At the movie’s end, they merge into one man, leaving an ambiguity of balance or accepted insanity. This movie convenient for readers too busy to visit their local art museum, but still free enough to spend a few hours of free time watching a terrific example of modern Magical Realism in visual art.

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Link List:

Paulo Coelho:

The Witch of Portobello

Alejandro Gonzalez Iñárritu:

Birdman

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Resources:

Please comment if any links are broken!

De Chirico, Giorgio  (1930). Piazza d/Italia [Painting]. Retrieved from

     https://www.dorotheum.com/en/dorotheum/press/press-archive/presse-      
     detail/archive//erfolg-fuer-klassische-modernebr-329700-euro-fuer-
     winterlandschaft-von-gabriele-muenter-im-dorot.html?         
     sitesource=kfz&cHash=2743be5871faab1a8679ec6aac66f8a5

Kahlo, Frida (1943). Roots [Painting]. Retrieved from

     http://taosartschool.org/frida/current.htm

Luber, Katherin (1998). Recognizing Van Eyck: Magical Realism in Landscape 
     Painting. Retrieved from http://www.jstor.org/stable/3795460    

     Search=yes&resultItemClick=true&searchText=katherine&searchText
     =luber&searchText=van&searchText=eyck&searchUri=%2Faction%
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     26amp%3Bfc%3Doff%26amp%3Bgroup%3Dnone&seq=1#page_scan
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Roy, Pierre (1930). The Beach [Painting]. Retrieved from

     http://www.phaidon.com/agenda/art/picture-galleries/2010/march/30/de-        chirico-max-ernst-magritte-balthus-a-look-into-the-invisible/?idx=19

Tooker, George (1957). Waiting Room [Painting]. Retrieved from

     http://imgkid.com/george-tooker.shtml

Van Eyck, Jan The Crucifiction; The Last Judgement (1443-40). [Painting].     
     Retrieved from http://www.metmuseum.org/collection/the-collection- 
     online/search/436282