












From The Wolf Man, 1941. Directed by George Waggner with cinematography by Joseph A. Valentine. Via Film Grab.













From The Wolf Man, 1941. Directed by George Waggner with cinematography by Joseph A. Valentine. Via Film Grab.

In a disguised way, Goya in the Caprichos drew a parallel between witchcraft and the activities of the clergy. He stressed the resemblance between witches and friars in their obedience to the hierarchy of their calling, the younger deferring to the older. In plate 47, Obsequio al maestro (“Homage to the master”), an apparently senior witch looks down with stony disdain at another, who ois offering her (or him) the gift of a dead baby; the supplicant’s gesture reminds one of a groveling postulant kissing the cardinal’s ring. “Es muy justo,” runs the Prado text: “This is quite fair, they would be ungrateful disciples who failed to visit their professor, to whom they owe everything they know about their diabolical faculties.”
Plate 46, Correccion (“Correction”), shows a group of brujos, male witches, as seminarians, consulting “the great witch who runs the Barahona seminary” — whatever that institution may have been. Of course, Goya could not be too explicit about this: on the other side of any public criticism of clerical practices lay the ever-watchful eye of the Inquisition, which Goya had to be at pains to avoid.
—From Robert Hughes’ biography Goya.

Fairy Mab, 1820 by Henry Fuseli (1741–1825)

Natural History of Selborne: Bat and Spider, 1932 by Gertrude Hermes (1901–1983)

New York, New York 10008, 1967 by Nemesio Antúnez (1918–1993)

Vision of Medea, 1828 by Joseph Mallord William Turner (1775–1851)

The Incubus Leaving Two Sleeping Women, 1793 by Henry Fuseli (1741–1825)

The Weeping Woman, 1942 by Raúl Anguiano (1915–2006)

Paroxysm, 1963 by Carlos Raquel Rivera (1923–1999)

À la bonne franquette (A Simple Meal), 2019 by Yves Tessier (b. 1955)

Fantasy Based on Goethe’s Faust, 1834 by Theodor von Holst (1810–1844)

Dead Soldier (Fascism), 1940 by Francisco Dosamantes (1911-1986)

Untitled, 1962 by Marcelo Grassman (1925–2013)

Portrait of a Boy, c. 1500 by Pinturicchio (Bernardino di Betto, 1454–1513)

Corners of King Solomon, 1970 by Consuelo González Amezcua (1903–1975)

The Fortune Teller Was Mistaken, 2017 by Gregory Ferrand (b. 1975)