strains of German expressionism and Italian futurism. This is typically referred to as animism. Magic Realism 'Magic Realism' for Roh, as a reaction to expressionism, meant to declare “[that] the autonomy of the objective world around us was once more to be enjoyed; the wonder of matter that could crystallize into objects was to be seen anew.” With the term, he was emphasizing the “magic” of the normal world as it presents itself to us — how, when we really look at everyday objects, they can appear strange and fantastic. In Italy, the style that Roh identified was created by a confluence of a renewed focus on harmony and technique called for by the “return to order” and metaphysical art, a style which had been developed by Carlo Carrà and Giorgio de Chirico, two members of the Novecento. Carrà described his purpose as to explore the imagined inner life of familiar objects when represented out of their explanatory contexts: their solidity, their separateness in the space allotted to them, the secret dialogue that may take place between them. The leading painter in Italy associated with this style is perhaps Antonio Donghi, who kept to traditional subject matter — popular life, landscapes, and still life — but presented it with strong composition and spatial clarity to give it gravity and stillness. His still lifes often consist of a small vase of flowers, depicted with the disarming symmetry of naive art. He also often painted birds carefully arranged for display in their cages, and dogs and other animals ready to perform for circus acts, to suggest an artificial arrangement placed on top of nature. In Germany, Anton Räderscheidt followed a style similar to Donghi, turning to magic realism after abandoning constructivism. Georg Schrimpf is somewhat like the two, working in a style influenced by primitivism. Filippo De Pisis, who is often associated with metaphysical art, can also be seen as a magic realist. Like Donghi, he often painted traditional subjects, but rather than developing a strict classical style, used a more painterly brush to bring out the intimacy of the objects, similar to the Belgian animists. His association with metaphysical art comes from the fact that he would often contrapose objects in his still lifes, and set them in a scene that gave them context. Another artist in Italy considered a magic realist is Felice Casorati, whose paintings are rendered with fine