ABSTRACT
This conclusion follows the fate of the Neorealist painters and their work after 1942, when the Germans began losing the war, and up to the postwar period. Returning to the definition Magic Realism, this conclusion considers the ways that the label became associated in postwar critical accounts with fascist regimes and how the Neorealists grappled with that legacy by either redefining the term or taking their distance from it. Finally, this conclusion takes stock of a shift in attitude away from figurative art in the postwar years, the legal reckoning of Pyke Koch in the aftermath of the war, Charley Toorop’s recognition as a resistance figure, and retrospective analyses of both Neorealism and the artists’ individual politics.
