The conceptual problematic of magical realism and its interpretation in painting

Magical Realism originated in Latin America as a literary movement and is frequently used as a term in painting. Magical Realism first emerged in the field of painting during the Weimar period in Germany between 1919 and 1933.The Weimar era constituted a significant period in the history of art, wherein artists embarked on diverse stylistic approaches and aesthetic quests as a response to the prevailing social, political, and cultural transformations. During this period, this concept which is considered within the New Objectivity (Neue Sachlichkeit) movement in Germany, has not gained a clear definition in the history of art. In this thesis, German art critic Franz Roh's theory, which led to the emergence of the term Magical Realism, is discussed in detail, and the works of artists called Magical Realists are included. By examining the applications of Magical Realism in the literary field, the common features, and differences in the context of painting are analysed. This tendency, which is associated with the Italian metaphysical movement, continued its development in different geographies with the migration of artists to the American continent after the Nazi period in Germany. Along with intercultural interaction, The multicultural nature and political influences of Latin America have paved the way for the development of Magical Realism in both literary and visual arts. Within the framework of American art, which is predominantly characterized by action and formalism, the positioning of figurative Magical Realism has been challenging. Magical Realism approaches have been labeled under different names and acquired meanings. There is an epistemological uncertainty in determining the elements that can be evaluated in the context of the concept of Magical Realism. Throughout history and in contemporary times, significant art institutions have curated exhibitions under the framework of Magical Realism. However, the classification of the artists included in these exhibitions lacks a definitive criterion, as each artist presents their unique and varied approaches within the realm of Magical Realism. In this thesis, the changes and terminological confusion that cause the ambiguous status of Magical Realism in painting are discussed. The aim of this study is to find answers to all these conceptual problems and to determine the place of Magical Realism in the history of art.