The series «Witch Matters» by Francisco de Goya has fascinated art historians and mystery lovers for centuries. Six canvases of the same dimensions depicting witches’ gatherings, spells, and devilish flights, created by Goya at the behest of one of the most influential women of his time: María Josefa Pimentel, IX Duchess of Osuna, to decorate her country house: the Palacete de la Alameda. Clara Tahoces, an expert in paranormal phenomena and a descendant of the duchess herself, has spent years investigating the connection between art and occultism, revealing unprecedented aspects of one of the most enigmatic series by the Aragonese painter. At the end of October, Tahoces will participate as an expert at the International Occulture Meeting on Goya and the mysteries of art, organized by Javier Sierra, which will be held in Zaragoza.
The researcher uncovers the mysteries of «Witch Matters,» the most enigmatic series by the painter, commissioned by the IX Duchess of Osuna to decorate her palacete de la Alameda.
How did you become interested in the relationship between art and paranormal phenomena, in the connection between Goya and the supernatural world?
It all started with an old engraving of the IX Duchess of Osuna that was in my parents’ house. It caught my attention, and I became interested in the figure of the duchess, who is also my ancestor. I wanted to delve into her history, and one thing led to another.
For our readers, could you briefly talk about your trajectory as a paranormal researcher and how this connects to your work on art?
I have been publishing articles since I was 17 years old. I worked for 13 years at the magazine Más allá de la ciencia as the head writer and was a contributor for just as long. Then I moved to television. I am currently a writer and reporter for the program Cuarto Milenio. Regarding art, I am very interested in the connection between dreams and art. Painters like Dalí portrayed their dreams in their paintings, and Goya also explored those subconscious territories.
What specifically led you to study these witch paintings by Goya?
Legends were told at home about her and about Goya, as María Josefa was one of the first patrons of the Aragonese painter. The Duchess commissioned a very special series of witch paintings from Goya, known as «Witch Matters.» All of this powerfully captured my attention.
What attracted you to the commission that the Duchess of Osuna gave to Goya? Was there something in her personality or her social circle that explains her interest in the occult?
I wanted to know why an enlightened, intelligent, and influential woman of her time was interested in decorating her country house, known as La Alameda de Osuna, with such mysterious paintings. In my novel «The Garden of Witches,» I propose a hypothesis myself, but no one really knows why she wanted to have these six gloomy paintings in her personal quarters.
Who was the IX Duchess of Osuna, María Josefa Pimentel, really? What kind of woman was she and what relationship did she have with Goya?
She was one of the most influential women of her time. She had an unusual level of culture. She was known to be very intelligent and enterprising. Goya became a regular attendee at her gatherings, and it can be said that a commercial relationship was established, but also one of friendship.
What significance did the scenes of witchcraft have during Goya’s time, at the end of the 18th century, and to what extent do they reflect a genuine interest or social satire?
While Central Europe believed in vampires, in Spain, people believed in the power of witches. The Enlightened, such as the IX Duchess of Osuna, apparently did not believe in them, but my research reveals that this woman had a genuine interest in the supernatural. Her library contained many books on witchcraft processes and also about dark subjects in general. These books were difficult to obtain, and some were banned. She had special permission to possess them.
Can we talk about a critical view or real fear in these witch scenes?
More than fear, I would say there was interest or fascination. Even today, we do not know for certain the reason behind that commission to Goya. It is believed that it may have arisen from the gatherings organized by the Duchess, which Goya attended, where witch-related issues could have been discussed.
What cultural and social environment surrounded the palacete de la Alameda de Osuna when these works were created?
Possibly, yes. The most prominent figures of the Enlightenment attended these gatherings. While the gatherings of the Duchess of Alba were playful, those of the Duchess of Osuna were intellectual. It is very likely that themes of witchcraft and occultism hovered over these gatherings.
What role did the so-called Capricho de la Alameda de Osuna play as a space in which these works could be contemplated?
The Capricho was the duchess’s private country house. It is a wonderful place that can now be partially visited. In her palacete, these gatherings we are mentioning took place. The entire garden is filled with esoteric and initiatory elements. Hence, we presume that this woman had a great interest and fascination for issues of mystery.
What exactly are the works that Goya painted for the Duchess with witch themes?
It is the series known as “Witch Matters”. There are six paintings of the same dimensions and framed in the same manner. The most famous is “The Witches’ Sabbath,” but there are also: “The Conjuring,” “Flight of Witches,” “The Stone Guest,” “The Devil’s Lamp,” and “The Kitchen of Witches.” The titles of the paintings already give us an idea of their sinister content.
In your research, have you found any connection between these paintings and real cases of witchcraft or popular beliefs of the time?
Yes, some paintings are inspired by real witchcraft processes, such as the famous case of Zugarramurdi.
What iconographic elements did Goya use in these works that indicate his knowledge of the world of witchcraft? Is there a key to understanding the background of these representations?
The main symbol is the goat, which appears in “The Witches’ Sabbath,” a painting that shows a representation of a Sabbath or witches’ meeting. But there are also ghosts, witches, demons, apparitions, bloodsuckers… a full catalog of the supernatural.
Let’s talk about «The Sleep of Reason Produces Monsters» and other caprichos related to witches. How do these engravings relate to the paintings for the Duchess?
That particular capricho does not connect, but there are other caprichos that relate to the works that Goya painted for the
