The universe of Witches and Sabbaths by Francisco de GoyaSabbath, theft of witches, devil's lamp and incantation show Goya using the supernatural to represent gullibility, compulsion, desire and fear rather than to confirm the reality of witchcraft.
1746 - 1828Life of Francisco de Goya
1786Appointment as painter to the King of Spain
1797 - 1799Caprices and first major scenes of witchcraft
° 2,000Paintings, frescoes, drawings and prints - overall estimate
Hand paintedReal oil painting, no print.
Formats of your choiceA composition adapted to the dimensions ordered.
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Possible alterationsRequest adjustments before sending.
1797 -1823 · Superstition, satire and social fear
Sabbath, theft of witches, devil's lamp and incantation show Goya using the supernatural to represent gullibility, compulsion, desire and fear rather than to confirm the reality of witchcraft.
Witches appear in Goya's cabinet paintings, Caprices and Black Paintings. At the end of the 18th century, Sabbath stories, ancient trials, popular superstitions and enlightened criticism intersect in Spain. The Witches' Sabbath places a crowned goat in front of a circle of figures who offer him children, condensing several stories of fear. The Flight of the Witches shows three figures wearing bolsters carrying a body while figures on the ground protect themselves from vision. The Devil's Lamp, linked to a theatrical scene by Antonio de Zamora, mixes desire, illusion and comic fear. The Flight of the Witches shows three figures wearing bolsters carrying a body while figures on the ground protect themselves from vision. The Devil's Lamp, linked to a theatrical scene by Antonio de Zamora, mixes desire, illusion and comic fear. The Incantation brings together old men, owls and ritual gestures in a space nocturnal. Goya does not record real practices like an ethnographer. It transforms witchcraft into a critical language of beliefs, power, violence and imagination. The images remain deliberately ambivalent: they can frighten while denouncing the credulity that makes them effective. The selection "Witches and Sabbaths by Francisco de Goya" notably compares The Witches' Sabbath and The Flight of Witches. His reading favors drawing.
Goya's witches inhabit less of a magical world than a social world where fear produces its own authorities.
Course & style
Journey, subjects and pictorial language
Witches appear in Goya's cabinet paintings, Caprices and Black Paintings. At the end of the 18th century, Sabbath stories, ancient trials, popular superstitions and enlightened criticism intersect in Spain. The Witches' Sabbath places a crowned goat in front of a circle of figures who offer him children, condensing several stories of fear. The Flight of the Witches shows three figures wearing bolsters carrying a body while figures on the ground protect themselves from vision. The Devil's Lamp, linked to a theatrical scene by Antonio de Zamora, mixes desire, illusion and comic fear. The Flight of the Witches shows three figures wearing bolsters carrying a body while figures on the ground protect themselves from vision. The Devil's Lamp, linked to a theatrical scene by Antonio de Zamora, mixes desire, illusion and comic fear. The Incantation brings together old men, owls and ritual gestures in a space nocturnal. Goya does not record real practices like an ethnographer. It transforms witchcraft into a critical language of beliefs, power, violence and imagination. The images remain deliberately ambivalent: they can frighten while denouncing the credulity that makes them effective.
Transform illness and isolation into invention
Private drawings deepen dreams, nightmares and behaviors. This milestone sheds light on the "Witches and Sabbaths by Francisco de Goya" collection, favoring drawing.
Painting and engraving superstition
Caprices and cabinet tables give the Sabbath a critical function.
Return to the Sabbath in the Quinta
Black Painting enlarges the crowd and darkens the interpretation.
01
Authority Goat
The animal figure parodies an assembly subject to grotesque power. This line guides a reading of "Witches and Sabbaths by Francisco de Goya" centered on drawing.
02
Flight impossible
The elevation of bodies suspends natural laws and increases fear.
03
Caricatural face
Deformation reveals gullibility, constraint or threat.
04
Mental night
Darkness is as much a social fear as it is a real hour.
Explore by universe
Deciphering four visions of witchcraft in Goya
Sabbath, theft, devil's lamp and incantation distinguish grotesque worship, kidnapping, superstitious theater and nocturnal ritual.
Sabbath01
Submit to the goat
The assembly depicts the fabrication of authority through fear.
For satire. Reading "Witches and Sabbaths by Francisco de Goya" through drawing.Vol02
Watching the kidnapping
Hanging bodies and terrified figures transform the sky into a threat.
For the nightmareLamp03
Confusing desire and illusion
The theatrical reference reveals how superstition manipulates the gaze.
For the storyIncantation04
Gather the nocturnal signs
Gestures, old people and animals make up a deliberately ambiguous ritual.
For atmosphereSabbath · Goya05
The Witches' Sabbath
The goat dominates a crowd whose fear produces grotesque authority.
Landmark work of Witches and Sabbaths by Francisco de GoyaTheft of the witches · Goya06
The Flight of the Witches
The body carried in the air transforms kidnapping and belief into a nightmare.
Landmark work of Witches and Sabbaths by Francisco de Goya
Works to discover
Four witchcraft by Francisco de Goya
Sabbath, theft of witches, devil's lamp and incantation show four critical uses of the supernatural.
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Choose a reproduction of Goya's witchcraft
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Frequently asked questions
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Are the reproductions hand painted?
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