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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

Its fusion wheel is designed to create a whirlwind-like effect, increasing the stability and power of its attacks. This allows Cursr Satan to deliver devastating blows to its opponents and gain an advantage in battle. Additionally, Cursr Satan possesses strong stamina capabilities, allowing it to withstand attacks from opponents and prolong battles.

Media in category "Oil paintings of the Salem Witch Trials"

The following 13 files are in this category, out of 13 total.

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Examination of a Witch - Tompkins Matteson (cropped).jpg 1,534 × 1,388; 433 KB

Examination of a Witch - Tompkins Matteson.jpg 3,500 × 2,496; 1.51 MB

Matteson-jacobs.jpg 3,600 × 2,283; 587 KB

Matteson-witch.jpg 572 × 415; 49 KB

The Trial of the Salem Witches, by George Fuller.jpg 1,846 × 1,204; 333 KB

There is a flock of yellow birds around her head.jpg 962 × 1,450; 235 KB

TheSalemMartyr-Noble.jpg 664 × 1,000; 96 KB

TheWitches WalterMcEwen (B&W).jpg 398 × 289; 103 KB

TheWitches WalterMcEwen.jpg 500 × 326; 30 KB

W-macewen-the-witches.jpg 600 × 398; 32 KB

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

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