THE FORM OF MAGICAL REALISM
The term “magical realism” was coined by the art critic Franz Roh in a founding essay of the same name, back in 1925, to refer to a new artistic movement after the avant-garde in which art regained realism, but from a subjective perspective, plagued by atmospheres and imaginary referents.
However, for ordinary mortals, magical realism remains a literary trend of the mid-twentieth century, in which Latin American writers such as García Márquez and Julio Cortázar stood out; since it was in this field dono came to popularize the term. It may seem strange, therefore, to begin a text about the work of a sculptor with this heading, but this was the most commonly used qualification by different contemporaneous writers and critics to describe the work of Ramón Muriedas. A work, that by its singularity, was difficult to pigeonhole in any artistic current of the time.
It is true that not only the influences cited by him, but also by those who spoke of him, placed him very close to the literary field. His enormous love for reading, and his extensive cultural background, brought him closer to the classics, to the great poets and novelists of Romanticism and to many other writers of his time.
So we have a Julio Caro Baroja that identifies the characters created by Muriedas as poetic and fictional, from some narration of Chekhov; or the same artist, who speaks of his continuous readings of Rilke, Bronte, Withman or Bernandin de Saint-Pierre, which places him, as he well stated several times under the strong influence of nineteenth-century romanticism, in any of his artistic manifestations .
As he well recognized, he reflected in his work that dreamy and self-absorbed air of the atmospheres and the cloudy skies of the north. It was that same air of self-absorption that he transmitted to the protagonists of his sculptures, which seemed to have been portrayed at the height of a trance. And, as for that marked influence of magical realism, without being very conscious or being too attentive to what was said, he said: “Unconsciously I always go to the recreation of themes that have their origin in fantasy. Very little I have set myself in reality, even when I modeled women, men or children. “
And, to finish with the literary simile, it should be added that he intimated personally and that his work was admired by writers of the stature of José Hierro, Álvaro Pombo, Manuel Mújica Lainez, Julio Cortázar and Juan Benet.