Enfilade

I noted this exhibition last year when it went on display in Scotland, but I didn’t realize it would also be on view in London. The description on The British Museum’s website provides additional information. I saw the exhibition Friday evening, and I think it’s fabulous (a nice complement to the British Library’s exhibition Terror and Wonder: The Gothic Imagination, even as they do very different things). There are stunning eighteenth-century images, and the period anchors the show more than the descriptions might suggest (including gorgeous prints after Salvator Rosa). –CH

From The British Museum:

Witches and Wicked Bodies
Scottish National Gallery of Modern Art, Edinburgh, 27 July — 3 November 2013
The British Museum, London, 25 September 2014 — 11 January 2015

Saul and the Witch of Endor, after Salvator Rosa.
Click on the image for details.

This exhibition will examine the portrayal of witches and witchcraft in art from the Renaissance to the end of the 19th century. It will feature prints and drawings by artists including Dürer, Goya, Delacroix, Burne-Jones and Dante Gabriel Rossetti, alongside classical Greek vessels and Renaissance maiolica.

Efforts to understand and interpret seemingly malevolent deeds—as well apportion blame for them and elicit confessions through hideous acts of torture—have had a place in society since classical antiquity and Biblical times. Men, women and children have all been accused of sorcery. The magus, or wise practitioner of ‘natural magic’ or occult ‘sciences’, has traditionally been male, but the majority of those accused and punished for witchcraft, especially since the Reformation, have been women. They are shown as monstrous hags with devil-worshipping followers. They represent an inversion of a well-ordered society and the natural world.

The focus of the exhibition is on prints and drawings from the British Museum’s collection, alongside a few loans from the V&A, the Ashmolean, Tate Britain and the British Library. Witches fly on broomsticks or backwards on dragons or beasts, as in Albrecht Dürer’s Witch Riding backwards on a Goat of 1501, or Hans Baldung’s Witches’ Sabbath from 1510. They are often depicted within cave-like kitchens surrounded by demons, performing evil spells, or raising the dead within magic circles, as in the powerful work of Salvator Rosa, Jacques de Gheyn and Jan van der Velde.

Francisco de Goya turned the subject of witches into an art form all of its own, whereby grotesque women conducting hideous activities on animals and children were represented in strikingly beautiful aquatint etchings. Goya used them as a way of satirising divisive social, political and religious issues of his day. Witches were also shown as bewitching seductresses intent on ensnaring their male victims, seen in the wonderful etching by Giovanni Battista Castiglione of Circe, who turned Odysseus’s companions into beasts.

During the Romantic period, Henry Fuseli’s Weird Sisters from Macbeth influenced generations of theatre-goers, and illustrations of Goethe’s Faust were popularised by Eugène Delacroix. By the end of the 19th century, hideous old hags with distended breasts and snakes for hair were mostly replaced by sexualised and mysteriously exotic sirens of feminine evil, seen in the exhibition in the work of Edward Burne-Jones, Dante Gabriel Rossetti and Odilon Redon.

The exhibition includes several classical Greek vessels and examples of Renaissance maiolica to emphasise the importance of the subject in the decorative arts.