Monstrosity in European Art: A reflection on the role of Monstrosity in 19th century paintings

Witches' Sabbath

          Interestingly, there are two paintings done by Goya called the Witches' Sabbath, one being a black painting and the other being earlier in his career, but I will be discussing the one he made during 1821-2823 despite the fact that they both contain similar themes. The Witches’ Sabbath is one of Goya's “black paintings” which came from when he, deaf, began painting on the wall of his home in the countryside to decorate them. Far removed from court life, Goya’s disillusionment with Spanish society came out onto his walls. Witches’ Sabbath is believed to be an affront to the royalists and clergy who had control of Spain at the time, but instead I think it's better to see the tone and impact of the people portrayed as they cower from the goat headed figure. 
         Witches’ Sabbath shows the blurring of the lines between the monstrous and the human in Goya’s later paintings. The people in the painting all have grotesque or mismatched faces and the figure that normally would be demonic seems to be more stable than the haggle of people in the painting. This painting is a far reach from his Spanish court paintings, and it can be seen how pessimistic Goya has become with humanity and the society that has been created. There is no noble character like there was in The Third of May and the feeling of the painting is bleak at best. 
 

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