The Salem witch trials were a series of hearings and prosecutions of people accused of witchcraft in colonial Massachusetts between 1692 and 1693. The trials resulted in the execution of twenty people, most of them women, and are considered one of the darkest chapters in American history. Although there were no paintings created during the actual time of the trials, many artists have been fascinated by this dark period and have produced artwork inspired by it. Some of these paintings explore the events and characters involved in the trials, while others focus on the broader themes of hysteria, fear, and the abuse of power. One notable painting related to the Salem witch trials is "The Trial of George Jacobs, August 5, 1692" by T.H.

The Salem Witch Trials' Art and Artifacts

Tompkins Harrison Matteson, Trial of George Jacobs, Sr. for Witchcraft, 1855. Oil on canvas.

The Peabody Essex Museum (PEM) takes a more personal look at the Salem Witch Trials this fall. Located in Salem and continuously operating since 1799, PEM is in the unique position to understand the history of the trials and their ongoing legacy. They’re now home to the world’s largest collection of materials related to the trials, which are showcased in a new exhibition, The Salem Witch Trials 1692.

Samuel Parris and John Hathorne, Examination of Martha Cory, March 21, 1692.

From June 1692 to March 1693, hysteria swept through the Massachusetts Bay Colony, leading to the execution of twenty-five men, women, and children. One of the most fascinating and frightening episodes in American history, the Salem Witch Trials have inspired innumerable books, movies, and televisions shows, and continue to live large in our imaginations. At PEM, courtroom paintings by Tompkins Harrison Matteson capture the drama of this period and the sensationalized way we tend to view those tragic events today.

But through smaller articles and artifacts, this exhibition shows the humanity both of those who lost their lives and those who miscarried justice. The handwritten account of the examination of Martha Cory is one such document, showing us through her own words, and the hand-written account of others, the minute details that culminated in this tragic episode.

Judge Samuel Sewall was a prominent figure in the colony and presided over many of the trials. Though initially a believer, he would later see the err of his ways and apologize for his involvement. Sewall would go on to serve as a judge for many years. Like many people involved in the trials, he had to go on with his life and try to reckon with the role he played in persecuting innocent people. Today Sewall is also remembered for his essay from 1700 denouncing slavery, The Selling of Joseph.

John Smibert, Portrait of Judge Samuel Sewall, 1733. Oil on canvas.

‘Community at its absolute worst’: revisiting the horror of the Salem witch trials

“T he Salem witch trials are an example of a community at its absolute worst.” This is what Anna Danziger Halperin, associate director of the Center for Women’s History at the New-York Historical Society, answered when I asked her why she thinks they have remained a powerful part of the American imagination for well over 300 years. “It’s something that we look to as example of what not to do, and yet we keep repeating these mistakes.”

Danziger Halperin has been thinking a lot about the witch trials lately, as she is the coordinating curator of the New-York Historical Society’s new exhibition, The Salem Witch Trials: Reckoning and Reclaiming, which runs from 7 October through 22 January 2023. The show brings together a wide array of historical artifacts to help ground audiences in the history behind the witch trials, and it also intends to leave its own stamp on these events by drawing attention to oft-neglected issues of race and gender.

Beginning in February 1692 and lasting for well over a year until May 1693, the witch trials engulfed more than 200 residents of the Salem community and resulted in 19 executions. The trials were not technically completed until July of this year, when Elizabeth Johnson Jr became the last of the accused to be formally cleared of all charges of witchcraft. These events have been a mainstay of American culture, being retold by writers like Nathaniel Hawthorne, Arthur Miller and Sarah Ruhl, used as a rhetorical shorthand for incidents of mass hysteria, and claimed by feminist activists for their clear examples of patriarchal and misogynist thinking. They even received the greatest of pop cultural tributes, being parodied by The Simpsons in Treehouse of Horror VIII from the long-running show’s ninth season.

“There are countless popular and media versions of this story, and we really want to challenge visitors to think about what they do know,” said Danziger Halperin. “I’m a historian of women’s activism, so I’m really drawn to the idea of reclaiming the story. Women’s rights advocates for generations have looked to witch-hunts for evidence of patriarchal control of women.”

Cotton Mather – The Wonders of the Invisible World, 1693. Photograph: Patricia D Klingenstein Library, New-York Historical Society

Reckoning and Reclaiming finds numerous ways to undertake that reclamation, starting with Tituba, an Indigenous woman from Barbados who was enslaved and brought to Salem, and who was among the first to be convicted of witchcraft. As Danziger Halperin explained, because there is so little documentation of Tituba left in the historical record, exhibitions often exclude her, focusing on wealthy, white victims whose higher social status allowed them to leave more historical artifacts behind. In giving Tituba and other marginalized women their due, Reckoning and Reclaiming aspires to center those who are often left at the periphery of these events, challenging popular conceptions of what the witch trials were.

“If we only focus on those whom we have material objects remaining of, we’re left with stories of the wealthier people in the community, mostly men,” said Danziger Halperin. “But in reality, the accusations were overwhelmingly hurled at women, and it helps us say, ‘This trial started with the scapegoating of ostracized members of the community.’ It started with marginalized women who were in one way or another more easily scapegoated, and then it spread to these wealthier and sometimes male figures.”

Reckoning and Reclaiming also bring in artists’ responses to the trials, drawing from the realms of fashion and photography. On exhibition is a dress from fashion designer Alexander McQueen’s collection In Memory of Elizabeth Howe, 1692, which McQueen made to honor his ancestor, the titular Howe. Runway photos of the dress in action are paired with papers documenting Howe’s condemnation as a witch and eventual exoneration, when her daughters were paid restitution for her execution in 1712.

“McQueen is really leaning into the very stereotypical imagery that you might associate with witches, and we’ve reproduced that,” said Danziger Halperin. “He’s pulling all of these symbols of the occult into his fashion show.”

The exhibition also draws in 17 portraits of modern-day witches made by photographer Frances F Denny, 13 of them from her series Major Arcana: Portraits of Witches in America. These photographs challenge the traditional idea of what a witch is, showing women in a wide variety of dress and environments. This portion of the show includes audio where audiences can hear the witches describing themselves. For Danziger Halperin, Denny’s portraits inspire because of their quotidian nature, which gets at just what gives the concept of the witch its dynamism. “We have a reproduction of a handwritten poem by Emily Dickinson, and I think it’s so powerful when combined with Frances’s portraits. It’s called Witchcraft was hung, in History – it’s this idea of witchcraft as something that can’t be held back, as a form of everyday rebellion.”

Alexander McQueen – evening dress (detail), from In Memory of Elizabeth Howe. Photograph: Peabody Essex Museum, Gift of anonymous donors in London who are friends of Peabody Essex Museum. Photo by Bob Packert

Something that comes across in Reckoning and Reclaiming is just how flexible and resilient the notion of being a witch is. In supporting so many different interpretations, this identity has been able to transcend the narrow conception imposed by the Salem witch trials, evolving into a symbol of expression and empowerment that has gone on to fill a multiplicity of social niches. “A witch is a multifaceted identity that comes from so many traditions, and some of them are very long-rooted, so I don’t really think there is just one definition,” said Danziger Halperin. “For instance, there are both those who have turned to witchcraft as a form of non-patriarchal religion, as well as those who have turned to it as a symbol of defiance – you’re going to call me a witch, yes, I’m a witch!”

Reckoning and Reclaiming also reminds us of the very real people behind these historical events, its ample documentation helping audiences to connect with the humanity of the witch trials’ victims. “These were real lives, and lives that were ruined, and the way that we tell that story carries so much weight,” said Danziger Halperin. “We really want to make sure that we do it in a way that honors those real lives and helps us stand up against injustice moving forward.”

• The Salem Witch Trials: Reckoning and Reclaiming, runs from 7 October until 22 January 2023

Category : Oil paintings of the Salem Witch Trials

H. Matteson. This painting depicts the trial of George Jacobs, one of the accused witches, in a dark and somber courtroom setting.

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• Representations of the Salem Witch Trials
• United States in history paintings

The painting captures the tense atmosphere of the trial and the despair of the accused. Another famous painting is "The Salem Martyr" by Thomas Satterwhite Noble, which portrays the execution of the accused witches. This haunting and dramatic painting shows the condemned witches being hanged, while onlookers watch in horror. The painting serves as a brutal reminder of the human cost of the witch trials and the devastating impact they had on the lives of those accused. In addition to these specific paintings, there are also numerous artworks that capture the overall mood and atmosphere of the Salem witch trials. These paintings often utilize dark, somber colors and depict scenes of accusation, interrogation, and mass hysteria. They aim to convey the fear and paranoia that gripped the community during this time. The Salem witch trials continue to captivate artists and audiences alike, as they represent a dark chapter in American history that raises questions about justice, fear, and the power of belief. These paintings serve as a visual reminder of the human tragedy that unfolded during the trials and the need for critical examination of the events that took place..

Reviews for "Beyond Salem: Paintings Depicting Similar Witch Trials Across the World"

1. Sarah - 2 stars

I found the "Salem witch trials paintings" to be quite unsettling and graphic. The artist seemed to focus solely on capturing the horror and darkness of the trials, without providing any context or deeper understanding. The images were filled with disturbing scenes of accused women being burned at the stake or tortured, which left me feeling uncomfortable and disturbed. I believe that artwork should strive to evoke a range of emotions, but these paintings only provoked feelings of unease and dread.

2. Mike - 1 star

As someone who is interested in history, I was eager to see the "Salem witch trials paintings" and gain a visual perspective on this dark chapter in American history. Unfortunately, I was disappointed with what I observed. The paintings seemed to lack depth and failed to capture the complexities of the trials. Instead, they relied on exaggerated and clichéd imagery to depict witches and their alleged victims. It felt more like a cheap horror movie rather than a serious artistic exploration of a historical event. I left the exhibition feeling unsatisfied and underwhelmed.

3. Rebecca - 3 stars

I acknowledge that the "Salem witch trials paintings" were technically well-executed and had a certain level of artistic skill. However, I couldn't fully appreciate or enjoy them due to their dark and somber subject matter. The paintings were filled with haunting images of accused women and their tormentors, which left me feeling uneasy and melancholic. While I understand the importance of acknowledging and remembering historical events like the witch trials, I prefer artwork that uplifts and inspires rather than evokes negative emotions.

4. David - 2 stars

The "Salem witch trials paintings" lacked a sense of subtlety and nuance that I expected from such a historically significant topic. The artist seemed to rely heavily on shocking and grotesque imagery, rather than exploring the psychological aspects of the trials. I felt that the paintings were more interested in sensationalizing the events rather than shedding light on the motivations and beliefs of those involved. Overall, I left the exhibition feeling like I had witnessed a collection of cheap horror paintings rather than a thoughtful exploration of the Salem witch trials.

Forgotten Stories: Unearthing Lesser-Known Tales of the Salem Witch Trials