'Witches and Wicked Bodies' Oct 2, 2014 18:10:07 GMT -5
Post by Joanna on Oct 2, 2014 18:10:07 GMT -5
'Witches and Wicked Bodies' Exhibition
The Witches and Wicked Bodies Exhibition will be on display through January 15, 2015. The exhibition examines the portrayal of witches and witchcraft in art from the Renaissance to the end of the 19th century. It features prints and drawings by artists including Dürer, Goya, Delacroix, Burne-Jones and Dante Gabriel Rossetti, along with classical Greek vessels and Renaissance maiolica.
Efforts to understand and interpret seemingly malevolent deeds – as well as 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, particularly since the Reformation, have been women. They are shown as monstrous hags with devil-worshiping 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 Victoria and Albert Museum, 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 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 satirizing 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’ companions into beasts.
During the Romantic period, Henry Fuseli’s Weird Sisters (above) from Macbeth influenced generations of theater-goers, and illustrations of Goethe’s Faust were popularized by Eugène Delacroix. By the end of the 19th century, hideous old hags with distended breasts and snakes for hair were mostly replaced by sexualized and mysteriously exotic sirens of feminine evil, seen in the exhibition in the work of Edward Burne-Jones, Dante Gabriel Rossetti and Odilon Redon.
Source: The British Museum.