In the classic tale of "The Wizard of Oz," one of the most iconic and memorable characters is the Malevolent Witch of the West, also known simply as the Wicked Witch of the West. This character captures the imagination of readers and viewers alike with her dark and sinister presence. Illustrations of the Malevolent Witch of the West often depict her as a frightening and malevolent figure. The artist's choice of colors, shadows, and details all contribute to creating an image that embodies the wickedness and evilness of the character. The main idea in these illustrations is the portrayal of the Malevolent Witch of the West as a menacing and foreboding presence. The artist achieves this by emphasizing the witch's twisted and gnarled appearance, with long, sharp claws and a hooked nose.
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Each witch holds something that further represents her presence some hold staffs and candles while others have strange undead creatures clenched within their hands, as if they are offering it to the goat. During the Middle Ages, a period of intense superstition and fear, witch-hunting became rampant throughout Europe as authorities sought to stamp out perceived threats from witches.
The artist achieves this by emphasizing the witch's twisted and gnarled appearance, with long, sharp claws and a hooked nose. Her face is often contorted into a wicked grin or scowl, as if she is relishing in her own malevolence. The artist frequently incorporates dark and somber colors into the illustration, such as deep purples, greens, and blacks.
Witch Pictures: Feminine Magic and Transgression in Western Art: An Illustrated Online Lecture with Pam Grossman, Author of Waking the Witch
Signed copies of Waking the Witch: Reflections on Women, Magic, and Power and Witchcraft. The Library of Esoterica will be available for purchase through the Morbid Anatomy website as the event approaches.
This lecture will take place virtually, via Zoom. Ticket sales will end at 5 pm EST the day of the lecture. Attendees may request a video recording AFTER the lecture takes place by emailing proof of purchase to [email protected] . Video recordings are valid for 30 days after the date of the lecture.
Ticketholders: a link to the conference is sent out at 5:30 pm EST on the day of the event to the email used at checkout. Please add [email protected] to your contacts to ensure that the event link will not go to spam.
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The image of the witch as we know it first appeared in visual culture in the late fifteenth century, and became a popular subject in artwork in the years that followed through today. Artists as varied as Dürer, Fuseli, Goya, and Blake used the archetype of magical – and often malevolent – women to titillate their patrons or reflect their own anxiety about female bodies and societal roles, often resulting in works that were either grotesque or beguilingly glamorous.
But what happens when witches themselves wield the brush? In the mid-nineteenth century, a family tree of female visionary artists began to take root. Deeply entrenched in esoteric studies, and often engaging in their own ritual practices, these women began creating works that used their own metaphysical experiences as inspiration, thus becoming their own muses. In doing so they conjured a "re-visioning" of the witch as a complex carrier of feminine power worthy of celebration.
In this richly illustrated presentation, Pam Grossman will explore the ways in which the image of the witch has evolved over time, and shine a light in the corners of art history where craft and Craft are one and the same.
Pam Grossman is the creator and host of The Witch Wave podcast, the author of Waking the Witch: Reflections on Women, Magic, and Power (Gallery Books) and What Is A Witch (Tin Can Forest Press), and the co-editor of WITCHCRAFT (Taschen). Her writing has appeared in such outlets as the New York Times, The Atlantic, Ms. Magazine, and her occulture blog, Phantasmaphile. She is co-founder of the Occult Humanities Conference at NYU, and her art exhibitions and magical projects have been featured in such publications as Artforum, Art in America, and the New Yorker. You can find her at PamGrossman.com and @Phantasmaphile.
Images, in order: Francisco de Goya y Lucientes, The Witches Sabbath or The Witches, 1797-1798; Leonor Fini, La sorcière, 1935; Rebecca Artemisa, Persimmon Permission Spell, 2016; Albrecht Dürer, The Witch, ca. 1500; Lezley Saar; Mourna is the mother of the deceased, whom she keeps in the dark depths of the earth. She protects all their secrets and memories, swaying to faint music, making the ground slippery with her tears, 2019; Remedios Varo, Witch Going to the Sabbath, 1957; Andy Warhol, Myths (The Witch), 1981
This lecture will take place virtually, via Zoom. Ticket sales will end at 5 pm EST the day of the lecture. Attendees may request a video recording AFTER the lecture takes place by emailing proof of purchase to [email protected] . Video recordings are valid for 30 days after the date of the lecture.
These colors not only enhance the evilness of the character but also create a sense of darkness and foreboding. Shadows are used liberally to further accentuate the witch's sinister nature, making her appear almost unearthly and supernatural. Additionally, the artist may include specific details that further enhance the malevolent nature of the character. These details can include items such as a broomstick, a pointy hat, or a cauldron, which are all associated with witches and their dark practices. Overall, illustrations of the Malevolent Witch of the West serve to emphasize her wickedness and add depth to her character. The artist brings the character to life through careful attention to colors, shadows, and details, creating an image that lingers in the minds of readers and viewers long after they've encountered her in the story..
Reviews for "Conjuring Evil: A Visual Journey into the Malevolent Witch of the West"
1. Sarah - 2/5 stars - I was really disappointed with the malevolent witch of the west illustration. The artwork lacked detail and didn't capture the essence of a terrifying witch at all. The colors were dull and there was no sense of darkness or, well, malevolence. It looked more like a cartoon character than a menacing witch. I was expecting something much more sinister and captivating, but unfortunately, this illustration missed the mark completely.
2. John - 1/5 stars - I have to say, the malevolent witch of the west illustration was a huge letdown. The proportions were all wrong, making it look extremely unrealistic and amateurish. The choice of colors was unappealing and didn't create the desired atmosphere or mood. The overall design lacked creativity and originality. I was hoping for a truly wicked and terrifying witch, but what I got was a feeble attempt at creating a character that fell completely flat.
3. Emily - 2/5 stars - I found the malevolent witch of the west illustration to be quite underwhelming. The artwork lacked depth and looked more like a rough draft than a finished piece. The composition was unbalanced, with the witch being placed awkwardly in the frame. Additionally, the facial expression of the witch didn't convey any sense of malevolence or wickedness; it was rather bland and expressionless. Overall, I was expecting a much more captivating and menacing portrayal of the witch, but unfortunately, this illustration fell short of my expectations.
4. Michael - 3/5 stars - While the malevolent witch of the west illustration didn't completely capture the essence of a truly malevolent witch, I must say that it still had some redeeming qualities. The use of colors was interesting and added a unique touch to the illustration. However, the overall execution and final result were lacking. The witch didn't look as menacing or powerful as I had hoped, and the details were somewhat lacking. It had the potential to be a great illustration, but it didn't quite hit the mark for me.