MAGIC REALISM traits
according to Frank Roh |
EXPRESSIONISM
|
|
|
POST-EXPRESSIONISM
|
Ecstatic
subjects |
|
|
Sober
subjects |
Suppression of the object |
|
|
The object
clarified |
Rhythmical |
|
|
Representational |
Extravagant |
|
|
Puristically severe |
Dynamic |
|
|
Static |
Loud |
|
|
Quiet |
Summary |
|
|
Thorough |
Close-up
view |
|
|
Close and
far views |
Monumental |
|
|
Miniature |
Warm (hot) |
|
|
Cold |
Thick
color texture |
|
|
Thin paint
surface |
Emphasis
on visible painting process |
|
|
Effacement
of painting process |
Centrifugal |
|
|
Centripetal |
Expressive
deformation |
|
|
External
purification of object |
|
|
|
|
reference:
Magic Realism Rediscovered 1918-1981, Seymour
Menton, 1983, The Art Alliance Press |
|
"While Magic
Realism turned daily life into eerie form, Surrealism, which
developed only a few years later, set out to smash our
existing world completely." German Painting in the
20th Century, Franz Roh |
"Magic
Realism is based on the representation of what is possible
but not probable; Surrealism, on the other hand, is based on
impossible situations." Pyke Koch, Dutch Magic Realist. |
MAGIC REALISM traits
according to Weiland Schmeid |
1.
Sobriety and sharp focus; an unsentimental , unemotional
vision |
2.
Artist's vision is directed to everyday, banal,
insignificant subjects, the absence of timidity with regard
to painting the unpleasant |
3. A
Static, tightly unified structure, which often suggests a
completely airless, glass-like space, which in general,
gives preference to the static rather than to the dynamic |
4. The
eradication of the traces of the painting process, the
liberation of the painting from all signs of the handicraft |
5.
Finally, a new spiritual relationship with the world of
things. |
reference:
Magic Realism Rediscovered 1918-1981, Seymour
Menton, 1983, The Art Alliance Press |
Close this window after
viewing
|
|