Is Gabriel Garcia Marquez's novel a work of "magic realism"?

 For some reason - most likely the extreme success and accomplishment of his most famous novel, One Hundred Years of Solitude - Gabriel Garcia Marquez is considered to be a founder of the Latin American literary movement Magic Realism; that tag makes sense at least for that novel, which includes such tropes as a young man always seen among a cloud of butterflies (wish I could summon up more examples). These episodes and touches occur within a literary style that is replete w/ realistic topical detail and is never dependent on the "magic" to drive the plot forward (no supernatural characters, for ex.) so that the strange moments when they occur feel to the reader to be part of the realistic re-creation of a specific time and locale. Right now I'm reading GGM's later novel, Love in the Time of Cholera, which with 100 Years stands as the pinnacle of his achievement - and I'm noting in reading it (now about 3/4 through the novel) that nothing in this novel (so far anyway) speaks to the "magic"; on the contrary, it's a fully realized "realistic" setting - an unnamed Caribbean country (obviously based on GGM's native Colombia) in the early years of the 20th century. There is nothing supernatural in the novel - but it's not an example of "naturalism" such as, say Mme Bovary, in that the emotions and actions of the characters are always extreme and eccentric. The novel centers on 3 characters (whose names are distressingly similar): Fermia Daza, Umberto Juvenal, and Florentino Ariza. When Florentino was a young many he fell in love w/ the inaccessible beauty Fermia and courted her surreptitiously and remotely over many years; at last she won her father's approval but suddenly and inexplicably cut off her non-relationship w/ Florentino and married the young physician Umberto. Florentino vows to love her (albeit from afar)all his life - and the novel begins when Umberto dies and Florentino speaks to Fermia for the first time in 50 years (!) and declares his undying love for her. Most of the novel shows the eccentric and exaggerated sexual pursuits of Florentino in his bachelorhood (not quite realistic, in my view, but not "magic" or supernatural) - and toward the end, the part of reading now, we learn of Umberto's infidelity and it's near ruinous effect on the marriage (a rift later healed, at least to a degree). The "love" noted in the title applies to several of the characters, as their half-century romantic obsessions play out against the background of country spinning into despair because of the epidemic and the many civil wars.