page_title: Witches' Sabbath (The Great He-Goat)
section_title: Description
hierarchical_section_title: Witches' Sabbath (The Great He-Goat) / Description
context_page_description: Witches' Sabbath or The Great He-Goat are names given to an oil mural by the Spanish artist Francisco Goya, completed sometime between 1821 and 1823. It explores themes of violence, intimidation, aging and death. Satan hulks, in the form of a goat, in moonlit silhouette over a coven of terrified witches. Goya was then around 75 years old, living alone and suffering from acute mental and physical distress.
  It is one of the fourteen Black Paintings that Goya applied in oil on the plaster walls of his house, the Quinta del Sordo. The paintings were completed in secret: he did not title any of the works or leave a record of his intentions in creating them. Absent of fact, Witches' Sabbath is generally seen by some art historians as a satire on the credulity of the age, a condemnation of superstition and the witch trials of the Spanish Inquisition. As with the other works in the group, Witches' Sabbath reflects its painter's disillusionment and can be linked thematically to his earlier etching The Sleep of Reason Produces Monsters as well as the Disasters of War print series, another bold political statement published only posthumously.
context_section_description: Satan preaches from a raised earth mound and is dressed in clerical clothing that may be a soutane. He has a goat-like beard and horns, and stands in silhouette, accentuating his heavy body and gaping mouth, which is depicted as if he is screaming. His form may be derived from a 1652 illustration of the Canaanite idol Molech, as illustrated by Athanasius Kircher.
  He holds court before a circle of crouched and mostly terrified women, accepted by art historians as a coven of witches. Some bow their heads in fear, others look towards him in open-mouthed and rapt awe. Describing the women, art historian Brian McQuade writes that the "sub-humanity of the gathered group is underlined by their bestial features and moronic stares". Satan's absolute power over the women has been compared to that of the king in Goya's 1815 The Junta of the Philippines, where authority is gained not from respect or personal charisma, but through fear and domination. The women are a mixture of old and young, and have similar twisted features; all but one are scowling, nervous and obsequious. Goya's use of tone to create atmosphere is reminiscent of both Velázquez and Jusepe de Ribera. The latter was an admirer of Caravaggio and utilised tenebrism and chiaroscuro. Goya learned from these sources, and from Rembrandt, some of whose prints he owned.
  An old woman sits to the right of the goat; her back to the viewer. Her face is half hidden, and she wears a white-hooded headdress resembling a nun's habit. She sits alongside bottles and vials on the ground to her right. Art critic Robert Hughes wonders if they "contain the drugs and philtres needed for the devilish ceremonies". The eyes of some figures are lined with white paint. The faces of the two main figures – the goat and the woman to the far right – are hidden. The woman is separated from the group, she is perhaps a postulant about to be initiated into the coven. She may represent Goya's maid and probable lover Leocadia Weiss, whose full-length portrait appears in the same series.
  As with the other Black Paintings, Goya began with a black background which he painted over with lighter pigments, then with broad, heavy brushstrokes of grey, blue and brown. The darker areas were achieved by leaving the black under-paint exposed; this is most obvious in the figure of the Devil. Like the other works in the series, Witches' Sabbath is worked up through heavy, slashing brushstrokes. The plaster was underlaid with thick carbon black before the paint was applied in hues of white lead, Prussian blue, vermilion of mercury, and crystals of powdered glass, orpiment and iron oxides. He likely worked with mixed materials. Technical analysis indicates that most of the Black Paintings began with preparatory drawings. Witches' Sabbath is the exception; the final composition seems to have been painted directly onto the wall.
  Art historian Fred Licht notes that Goya's brushwork appears "clumsy, ponderous, and rough" and lacking finish compared to his earlier work. Licht believes this was a deliberate ploy to physically convey dismay at human inadequacy and his own feelings of personal doubt. Unique in the series, Witches' Sabbath was not significantly altered by Goya after his initial work.
caption: Witches' Sabbath, 1789. Goya's depictions of witchcraft mocked what he saw as medieval fears exploited for political gain.[31]
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