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László Mednyánszky

“Old Man's Death” 1890

“Elderly Couple at Night” 1895

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“One day the sadness will end.

But I don’t think today’s the day.”

David Lynch

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“Reception of a Witch”

Initiation ceremony of a young witch, 17th century

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Theodore Gericault 1791-1824

"Self portait"

"Anatomical pieces"

"Head of a dead young man"

"Head of a Guillotined Man " 1818-1819

"Le Guillotine"

"Study of Feet and Hands" 1818-1819

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Francisco Goya y Lucientes -"Boy Staring at an Apparition" 1824-1825

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“Devil worshipping cats”, 16th century

detail from the painting “Witches’ Cove” attributed to a follower of Jan Mandijn

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“I believe life is a continuum, and that no one really dies, they just drop their physical body and we'll all meet again, like the song says. It's sad but it's not devastating if you think like that... We're all going to be fine at the end of the story.” — David Lynch

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Félicien Rops

Satanic Self Portrait,  c.1860

Behind the Scenes, c.1878

The Werewolf, 1868

Illustration of ‘Les Diaboliqies’, 1879

Venus and Cupid, 1881

The Hanged Man at the Bell, 1867

The Satanic. Removal, 1882

The Sphinx, 1879-1882

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Jacopo Ligozzi - ‘Natura Morta Macabra’

1604 ca

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The Secret — Edvard Munch

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“the vampire”, by philip burne-jones (1897)

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Caffe Florian, Venice (1720). It is the oldest Caffe in the world

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Albrecht Dure, Witch Riding on a Goat, 1500/1501

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𝓢cenes of 𝓦itchcraft by Salvator Rosa (Italian, 1615 — 1673) are a series of paintings depicting witches created in 1645 —1649.

The first scene portrays a young witch plunging a knife into a writhing amphibian creature; it is dawn. This enchantress, perhaps inspired by the great witch Circe in her transformative imagery, is exceptionally violent in her craft: she watches, calm, as the half-turned human before her shifts into a monster.

The second painting showcases a group of old hags, holding onto skulls and brooms. These witches prepare to travel to an orgy, and the light colors in which Rosa portrays the witches add on to the grotesque image, shining some comedic light onto the scene.

The third scene has a group of witches gathered around a cauldron with a conjured skeleton soaring in the sky above the. Following a long-established tradition, the artist paints the hags in the midst of creating a spell: based on the imagery, perhaps a love one.

The fourth painting creates an especially dark image, indicating the night: a group of men watches a magician conjure inhuman, terrifying, formless apparitions. As tradition suggested, necromancy usually was practiced by men so Rosa portrays a mage, a companion to the witches of other scenes, caught in his dark art.

Rosa chose the painting's shape to reference the foundational role of the circle in practicing magic.

⚸ Scenes of Witchcraft: Morning ⚸ Scenes of Witchcraft: Day ⚸ Scenes of Witchcraft: Evening ⚸ Scenes of Witchcraft: Night

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