Guy Tal
Biographic Data
| ID | 2497371 |
|---|---|
| NAME | Guy Tal |
| GIVEN NAMES | Guy |
| FAMILY NAME | Tal |
| SIGNATURE | TAL G |
| AFFILIATIONS | Shenkar College of Engineering and Design |
| ORCID | 0009-0004-3308-4391 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Enchanting Trees
Trees are linked to early modern conceptions of witchcraft, most notably as designated sites of the witches’ Sabbath. Yet the additional roles that trees play in witchcraft imagery have received little scholarly attention. This article examines the multifaceted roles of trees in European and North American visual culture from the sixteenth to the nineteenth century, arguing that trees function not merely as passive scenery but as vital components…
Fantasmagorie
An Overlooked Femme Fatale in Victorian Art
The Magic Circle, painted by John William Waterhouse for the Royal Academy exhibition of 1886, features a nubile sorceress whose identity and nature are undetermined. This essay contends that to bring this figure into analytical focus it is necessary to examine the hitherto misconstrued image embellishing her gown: this is the figure of Medusa, copied by the artist from an Archaic Greek vase held in the British Museum. In adorning his sorceress w…
Magical Monsters
Studies of early modern images of witchcraft interpret the motif of hybrid creatures as representations of demonic incarnations intended in part to demonstrate the artists' inventive prowess and capacity for phantasia. This article broadens the scope of analysis by arguing that the hybrid functions as a prolific site of reflection on the symbolic analogy between art and witchcraft, highlighting the common creativity attributed to the artist and t…
The Italian Renaissance Nude
The Monster in the Garden
No prominent works on this page.
The Monster in the Garden
The Italian Renaissance Nude
Magical Monsters
Studies of early modern images of witchcraft interpret the motif of hybrid creatures as representations of demonic incarnations intended in part to demonstrate the artists' inventive prowess and capacity for phantasia. This article broadens the scope of analysis by arguing that the hybrid functions as a prolific site of reflection on the symbolic analogy between art and witchcraft, highlighting the common creativity attributed to the artist and t…
An Overlooked Femme Fatale in Victorian Art
The Magic Circle, painted by John William Waterhouse for the Royal Academy exhibition of 1886, features a nubile sorceress whose identity and nature are undetermined. This essay contends that to bring this figure into analytical focus it is necessary to examine the hitherto misconstrued image embellishing her gown: this is the figure of Medusa, copied by the artist from an Archaic Greek vase held in the British Museum. In adorning his sorceress w…
Fantasmagorie
Enchanting Trees
Trees are linked to early modern conceptions of witchcraft, most notably as designated sites of the witches’ Sabbath. Yet the additional roles that trees play in witchcraft imagery have received little scholarly attention. This article examines the multifaceted roles of trees in European and North American visual culture from the sixteenth to the nineteenth century, arguing that trees function not merely as passive scenery but as vital components…
Art (5 works) · Art history (4 works) · Folklore, Mythology, and Literature Studies (3 works) · Aesthetics (2 works) · The Renaissance (2 works) · Analogy (1 work) · Arboreal locomotion (1 work) · Archaeology (1 work) · Architecture and Art History Studies (1 work) · Astronomy (1 work)