{"id":"magic-realism","no":481,"name":"Magic Realism","ja":"マジック・リアリズム","era":"1925–1970s","family":"具象絵画","kind":"スタイル","collection":"Dictionary expansion 24","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Magic Realism","url":"https://www.tate.org.uk/art/art-terms/m/magic-realism"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/m/magic-realism","credit":"Tate — Art Terms: Magic Realism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Georg%20Schrimpf%2C%20M%C3%A4dchen%20am%20Fenster.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Georg%20Schrimpf%2C%20M%C3%A4dchen%20am%20Fenster.jpg","credit":"Georg Schrimpf《窓辺の少女》— Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Georg%20Schrimpf%20-%20Liegende%20Frau%20mit%20Kind.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Georg%20Schrimpf%20-%20Liegende%20Frau%20mit%20Kind.jpg","credit":"Georg Schrimpf《横たわる女と子ども》— Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Georg%20Schrimpf%20-%20Franz%20von%20Assisi.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Georg%20Schrimpf%20-%20Franz%20von%20Assisi.jpg","credit":"Georg Schrimpf《アッシジのフランチェスコ》— Wikimedia Commons / Public domain"}]},"essence":"描写は徹底して写実でありながら、光・配置・静けさによって現実が一段ずれて見える絵画。超現実主義のような変形は使わず、ありふれた事物を異様なほど明晰に置くことで不安と静謐を同時に呼ぶ。命名は1925年のドイツ美術批評に由来する。","cues":["硬質で均一な光","異様に明晰な描写","静止した人物と事物","説明されない配置"],"intents":["静けさ","親密","高級"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["new-objectivity-photography","surrealism"],"study":["フランツ・ローによる命名 1925","新即物主義との関係","ラテンアメリカ文学への転用"],"en":{"essence":"Painting whose handling is scrupulously realist, yet whose light, placement and silence tip reality one notch out of true. It uses none of Surrealism's distortions; instead it sets ordinary things down with uncanny clarity, summoning unease and stillness at once. The name comes from German art criticism of 1925.","cues":["Hard, evenly distributed light","Description of uncanny clarity","Figures and objects held motionless","Arrangements that are never explained"],"works":["Brand photography and film stills that must feel calm and slightly wrong: fragrance, luxury goods, speculative fiction","Editorial illustration for essays whose subject is ordinary life seen from an angle that will not resolve"],"recipe":{"type":"A quiet transitional serif, generously letterspaced, kept well clear of the image so it never explains it.","layout":"A single frontal scene with one object placed where the eye does not expect it, surrounded by a wide and undisturbed margin.","material":"Matte, non-reflective stock and an even shadowless colour field: no grain, no gloss, nothing that suggests the picture was handled."},"avoid":"Reaching for melting clocks and impossible bodies: the moment the description breaks, the work is Surrealist, and the particular chill of the ordinary held too clearly is gone.","study":["Franz Roh's coining of the term in 1925","Its relation to New Objectivity","The term's transfer to Latin American literature"]}}