Witchcraft today is a subject that has garnered much interest and intrigue in contemporary society. Gerald Gardner, often referred to as the "Father of Witchcraft," played a significant role in popularizing and shaping modern witchcraft. Gardner was a British civil servant and amateur anthropologist who claimed to have been initiated into a coven of witches in the New Forest region of England in the 1930s. Through his writings and teachings, Gardner sought to revive and legitimize witchcraft as a valid spiritual practice. Gardner's book, Witchcraft Today, published in 1954, was groundbreaking in its exploration of witchcraft as a living and viable practice. He argued that witchcraft was an ancient, nature-based religion that had survived centuries of persecution and oppression.

Why Artists Have Been Enchanted by Witchcraft for Centuries

Illumination depicting the two witches on a broomstick and a stick, in Martin Le Franc's Le Champion des dames ("Ladies' Champion"), 1451. Image via Wikimedia Commons.

The history of witchcraft in Western art is a tale with a dramatic plot twist. Throughout the 1400s, witches began appearing in European illustrations and woodcuts as demonic creatures with deviant sexual habits: Broomsticks were stand-ins for phalluses, and nude women rode backwards on goats. Throughout the next 400 years, around 80,000 Europeans—80 percent of them women—were killed for alleged witchcraft. Their “crimes” ranged from causing male impotence to damaging property and worshipping Satan. In the 1800s, occult spirituality was suddenly back in vogue. Women began reclaiming sorcery for themselves, in both their lives and their art.

Fast forward to 2019: Witches are alive and well, from Bucharest to Los Angeles. They’re casting spells, making enchanting artwork, and cursing world leaders. It’s certainly an improvement from the days of witch burnings, but gender inequality is still evident in contemporary spiritual and aesthetic practices. Ideally, women would have enough power and influence to make magical activity redundant. By tracing the history of witchcraft in art, we reveal just how far we’ve come—and how far we still have to go.

He argued that witchcraft was an ancient, nature-based religion that had survived centuries of persecution and oppression. According to Gardner, witchcraft was rooted in the worship of a Horned God and a Great Goddess, representing the masculine and feminine divine forces. Rituals and ceremonies were performed to honor and connect with these deities, as well as to tap into the natural energies of the earth and the seasons.

Early-modern wicked witches of the West

Albrecht Dürer, The Four Witches, ca. 1497. Image via Wikimedia Commons.

The first known Western artwork depicting witches on broomsticks appears in an illustrated manuscript of a poem, “Le Champion des Dames” (1451), by French writer Martin Le Franc. To the left of Le Franc’s calligraphic text fly two women in long dresses—one pumpkin-hued, the other the color of a carnation. Light cloths cover their hair, and they look up towards the sky. They’re labeled as “Waldensians,” hailing from an ascetic Christian sect. French lore derided the group as heretical, imagining that its women flew through the sky on twig brooms.

“Some of the most powerful images of the diabolical nature of witchcraft produced in the fifteenth century depicted witches as part of a group, and were shaped by contemporary notions of heresy and apostasy,” wrote Charles Zika in The Appearance of Witchcraft (2007). Heretics, of course, were more frightening in large numbers, as they created a more significant threat to the status quo. If one witch was scary, a flying coven was downright terrifying.

Frans Francken the Younger, Witches' Sabbath, 1606. Courtesy of the Victoria and Albert Museum.

German artist Albrecht Dürer’s famous prints of witches followed this model. His engraving The Witch (ca. 1500) features a nude figure: The titular character has long, wavy hair; a muscular physique; and breasts. Small, winged boys surround the witch, as though worshipping her. The Four Witches (ca. 1497), another Dürer engraving, depicts a tidy, symmetrical coven of four nude women.

Charlotte-Rose Millar, a research fellow from the University of Queensland, noted that some of “the most gruesome and evocative witchcraft images” come from Dürer’s homeland of Germany. That’s not surprising, she said, “given that 50 percent of witchcraft executions took place in the Holy Roman Empire, a large geo-political unit including Germany.”

Giovanni Benedetto Castiglione, Circe changing the companions of Ulysses into beasts, 1650–1651. Courtesy of The Metropolitan Museum of Art.

Millar pointed out an ironic dichotomy in early-modern witchcraft imagery: Witches were either young and seductive or old and haggard. The former group could supposedly join with the devil to make men lose control of their senses, while the latter, post-menopausal group offered no financial or reproductive benefit to the men who controlled society. In 1487, German clergyman Heinrich Kramer produced the best-known treatise on witchcraft, Malleus Maleficarum, which spurred the prosecution of witches and the persecution of women at large.

To protect themselves from witches, Europeans created “witch bottles” full of human hair, urine, and nail clippings, then placed them around their homes. Such objects went on view at the Ashmolean Museum in Oxford last year in its “Spellbound” exhibition, turning these fetish objects into aesthetic relics in their own right.

Throughout the 17th century, witch depictions ranged from classical allusions to satanic scenes. Italian artist Giovanni Benedetto Castiglione etched the sorceress Circe turning Odysseus’s companions into beasts. Belgian artist Frans Francken the Younger imagined a witches’ sabbath with a group of women huddled around a book. While the tome is ostensibly full of spells, the message is clear: Beware a group of literate, independent women.

The Influence of Witchcraft in Classical Artwork

The history of witchcraft in Europe dates back to ancient times and has been documented over centuries. It was believed that witches had supernatural powers and could cast spells or curses on people. 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. Trials and executions were held, often with little evidence beyond hearsay or accusations from neighbors or family members. In many parts of Europe, the practice of witchcraft declined in the late 16th century due to religious reformations and advances in scientific knowledge. Although witchcraft has been feared and vilified throughout history, it has also been the subject of fascination and mystique. This is reflected in the artwork of the time, with many painters depicting witches in their work. In this article, we will take a look at some of the most famous paintings that feature witches, and explore the different ways they have been portrayed over the years. From Frans Francken II’s 'The Witches Sabbath' painted in 1607 to John William Waterhouse’s 'The Magic Circle'painted in 1806. Witches' Flight | Francisco de Goya | 1797
Francisco de Goya was one of the most renowned painters to depict witches and witchcraft through his artworks. In 1797 he created The Witches Flight, an oil painting featuring a nightmarish scene of a flock of witches soaring across a black sky. Although not much is known about it, scholars have suggested that it might be related to a Spanish Inquisition topic. These eerie characters dominate the black dark clouds, having an eerie and mysterious presence throughout the composition. The work expresses an intriguing sense of fear, pointing to violence and butchery during the period. Goya's skilful technique contributes to its captivating atmosphere, where viewers can almost feel the movement and energy of these flying figures in motion. It stands as one of his most important works, becoming a symbol of troubled times full of superstitions and unjust practices haunting humanity even today.
The Witches' Sabbath | Salvator Rosa | 1649 The Witche's Sabbath by Salvator Rosa is an eerie and captivating painting of a mysterious gathering deep in the woods. It depicts a group of witches gathered around a fire, with one evil bird like creature raising its wings as it summons evil spirits from beyond. The painting has been interpreted in various ways, but most likely portrays an infamous witch’s sabbath which took place during the height of the European Witch Trials of the 17th century. The dark figures represent witches and other practitioners of magic who were persecuted during this time for their beliefs and practices. Magic Circle | John William Waterhouse | 1886 The witch depicted in John William Waterhouse's painting 'The Magic Circle' is a mysterious figure. She is presented as powerful and wise, with her head slightly tilted upwards as she tends to a large pot of unknown contents. Her face and eyes are hidden by her deep dark hair. She wears an ornate robe of midnight blue velvet, gathered tightly around her slight frame to emphasize her status as a supernatural being. In one hand she holds a black wand that glitters with magic energy. Around her stands a boundary of stones inscribed with runes that form an enchanted circle to protect her from any malevolent forces. Witches Sabbath | Frans Francken the Younger | 1649 The Witches Sabbath, a painting by Frans Francken the Younger, is an intricately intense artwork depicting a group of individuals gathered in an open clearing beneath a moonlit sky. Barely visible in the gloominess of the night, women and men alike are unified by their joint allegiance to Lucifer, small devils and demons can be seen in the background. Despite their terrifying stature and piercing gazes, those gathered around do not seem to be alarmed but instead wear expressions of wonder in anticipation of what may follow. Such attention to detail and vibrant colours used in The Witches Sabbath give it a surprisingly interesting yet peculiar atmosphere that gives spectators pause with its riddling subject matter; this work captures its audience's attention with brilliant artistry and allows one to come away from viewing with some insight into the chaotic complexity of humanity. Witches Sabbath | Francisco de Goya | 18th Century The painting Witches Sabbath by Francisco de Goya is an unsettling representation of a supernatural gathering. The focus of the painting is a large goat whose ghastly eyes seem to pierce into the viewer's soul. He stands atop a rocky hill in front of an array of witches, some adorned in dark cloaks and hats, who are ready for their sabbath ritual to begin. In the background, a crescent moon illuminates a night sky filled with stormy clouds and stars. 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. All of them appear to be preparing for something sinister, as if they were conjuring a ritual. In conclusion, witchcraft has played a large role in the art world throughout history. It has been included in various classic works of art, from the Middle Ages through to more modern paintings. Many artists have explored the mystical powers of witches and their influence on humanity, often depicting them as mysterious figures with supernatural abilities. While some have framed them as dangerous creatures who practice black magic and malicious curses, others have focused on their healing practices and protective nature towards mankind. Even today, witchcraft continues to provide an interesting subject matter for many traditional and contemporary artists alike. From its earliest depictions to modern interpretations of this ancient craft, it is clear that witches and their powerful magic will remain an important figure within the creative arts for centuries to come.

Why Did Francisco Goya Paint Witches?

Francisco Goya’s grim and unnerving images of witches’ sabbaths and flying sorceresses hide an intriguing story behind them.

Francisco Goya started his career as a joyful rococo painter, but over the years the famous artist turned into a master of scary scenes. Among the variety of menacing figures in his works, witches appear to have a special place. But what was the reason for such a strange interest? Read on to learn more about why Francisco Goya decided to paint these scary creatures in his works.

One of the key aspects of contemporary witchcraft influenced by Gardner is the concept of Wicca. Wicca is a modern pagan religious movement that incorporates elements of witchcraft, nature worship, and ceremonial magic. It places an emphasis on personal experience, inner transformation, and living in harmony with nature. Wiccans often practice in small covens or as solitary practitioners, following a set of ethical principles known as the Wiccan Rede, which promotes the idea of "an it harm none, do what ye will." Today, witchcraft and Wicca continue to evolve and adapt to the changing times. The movement has gained popularity and recognition, and witches are no longer seen solely as evil or devil-worshipping individuals. Many people are drawn to witchcraft for its emphasis on personal empowerment, connection with nature, and spirituality outside of traditional religious institutions. The practice of witchcraft can include spellcasting, divination, herbalism, and other forms of magic, all aimed at harnessing personal power and manifesting desired outcomes. However, it is important to note that witchcraft is a diverse and multifaceted practice, with many different traditions and paths. Not all witches identify as Wiccans, and not all follow the teachings of Gerald Gardner. Some may incorporate elements of other spiritual practices, while others may focus on specific aspects such as herbalism or healing. Ultimately, witchcraft today is a vibrant and dynamic movement that continues to evolve and grow, offering individuals a unique and personal spiritual path..

Reviews for "Witchcraft for the Modern Age: Gerald Gardner's Teachings in a Technological World"

1. Samantha - 1/5 stars - I found "Witchcraft Today" to be highly disappointing. Gerald Gardener's writing style was convoluted and difficult to follow. The book lacked structure and coherence, jumping from one topic to another without any clear direction. Additionally, I felt that Gardener's claims and explanations were baseless and lacked evidence. Overall, I found this book to be a frustrating and confusing read, and I would not recommend it to anyone interested in witchcraft or the occult.

2. Robert - 2/5 stars - As someone who has a keen interest in witchcraft, I was excited to dive into "Witchcraft Today." However, I was left feeling underwhelmed and unsatisfied after reading it. Gerald Gardener's writing was dry and lacking in depth. I felt that he merely scratched the surface of the subject matter, failing to provide any substantial insights or unique perspectives. Additionally, the book was riddled with inaccuracies and misinformation, which further added to my disappointment. Overall, I was expecting a much more informative and engaging read, and unfortunately, "Witchcraft Today" failed to meet those expectations.

3. Lisa - 2/5 stars - I must admit that I was quite intrigued by the premise of "Witchcraft Today." However, I found it to be a rather dull and tedious read. Gerald Gardener's writing style was dry and academic, making it difficult to maintain my interest throughout the book. The information provided was also quite basic and lacked depth. I was expecting more insight into the practice of witchcraft and the surrounding beliefs, but instead, the book felt more like a history lesson. While it may be suitable for those new to the subject, I believe there are much better resources available for those looking to delve deeper into the world of witchcraft.

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