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The Magic Circle is an 1886 oil painting in the Pre-Raphaelite style by John William Waterhouse. Two copies of the painting were produced. The two paintings and a study depict a witch or sorceress using a wand to draw a fiery magic circle on the Earth to create a ritual space for her ceremonial magic. As was common in the period, Waterhouse ...
The Crystal Ball (painting) E. The Examination of a Witch (painting) F. The Flower Book (Edward Burne-Jones) The Four Naked Women (Dürer) J. Janet Cornfoot;
Witches' Sabbath (Spanish: El Aquelarre) [1] is a 1798 oil painting on canvas by the Spanish artist Francisco Goya. Today it is held in the Museo Lázaro Galdiano, Madrid. It depicts a Witches' Sabbath. It was purchased in 1798 along with five other paintings related to witchcraft by the Duke and Duchess of Osuna. [2]
Witches' Sabbath, 1821–1823.Oil on plaster wall, transferred to canvas; 140.5 × 435.7 cm (56 × 172 in). Museo del Prado, Madrid Merging of two photographs by Jean Laurent taken in 1874, before the removal of badly damaged landscape to the far left and right during the transfer to canvas.
Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. [1] The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure.
The painting may represent an event in 1692, [1] during the Salem witch trials, the subject being one Mary Fisher.The year of 1656 is more likely, as Mary was then captured with Ann Austin, which makes 1692 less likely than 1656.
Real-life witches on the misconceptions they face and using magic as a form of self-care: 'It was a way for me to cope' David Artavia October 22, 2021 at 4:21 PM
The Incantation [1] (Spanish: El conjuro) is a painting by the Spanish artist Francisco Goya. It belongs to a series of six cabinet paintings, each approximately 43 × 30 cm, with witchcraft as the central theme. The paintings do not form a single narrative and have no shared meaning, so each one is interpreted individually.