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The women are positioned in a small interior space which contains a window and can be entered or exited from two sides. The small devil in the left hand recess, who is intended to represent evil, as mammalian anatomy including hind legs, and holds a vaguely described object in his claw that appears to consist of sticks and a piece of string, [10] perhaps comprising a contemporary device for ...
The Nightmare (1781), by Johann Heinrich Füssli, Detroit Institute of Arts, Detroit. Symbolism, understood as a means of expression of the "symbol", that is, of a type of content, whether written, sonorous or plastic, whose purpose is to transcend matter to signify a superior order of intangible elements, has always existed in art as a human manifestation, one of whose qualities has always ...
Source: Notes in the History of Art. 6 (3): 20–26. ISSN 0737-4453. Sullivan, Margaret A. “The Witches of Dürer and Hans Baldung Grien.” Renaissance Quarterly, vol. 53, no. 2, 2000, pp. 333–401; Suzanne Boorsch, Nadine Orenstein "The Print in the North: The Age of Albrecht Durer and Lucas van Leyden." The Metropolitan Museum of Art ...
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]
Outside the circle, the landscape is bare and barren; a group of rooks or ravens and a frog – all symbols of evil associated with witchcraft – are excluded. But within its confines are flowers and the woman herself, objects of beauty. The picture's meaning is unclear, but its mystery and exoticism struck a chord with contemporary observers.
Europe's Inner Demons: An Enquiry Inspired by the Great Witch-Hunt is a historical study of the beliefs regarding European witchcraft in Late Medieval and Early Modern Europe, with particular reference to the development of the witches' sabbat and its influence on the witch trials in the Early Modern period.
In 1986, Adler published a revised second edition of Drawing Down the Moon, much expanded with new information.Identifying several new trends that had occurred in American Paganism since 1979, Adler recognized that in the intervening seven years, U.S. Pagans had become increasingly self-aware of Paganism as a movement, something which she attributed to the increasing number of Pagan festivals ...
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