Paula Rego told compelling stories through her paintings, sculptures and pastel pieces, centring the experience of women in society in her imaginative, occasionally disturbing images exploring themes of rebellion, power and gender, working in a style that evolved from abstract to figurative.
Paula Rego was born in Lisbon in 1935 but moved to Estoril as a child, having been diagnosed with TB. Her father opposed the brutal Salazar dictatorship so the family lived in fear of terror, but the circumstances also instilled in Rego a passionate defence of freedom of speech in art. Sent to finishing school in England aged 16, Rego stayed in the country and studied at the Slade School of Art, where she met her husband, the painter Victor Willing (who was diagnosed with multiple sclerosis in 1966). Rego exhibited alongside other School of London artists during the 1960s including Lucien Freud, David Hockney and Francis Bacon.
Inspired equally by Portuguese folk tales, Jungian analysis and living through the Salazar regime, Paula Rego used a dreamy, realist style to tell stories of oppression, fear and power relationships, usually from the point of view of women. Her figurative, feminist retelling of folk tales and Disney films asks viewers to question power dynamics and expectations around what it means to survive as a woman in different societies.
Rego’s early works were a reaction to the Salazar regime. Interrogation (1950), painted when she was only 15, features a woman with her head in her hand, with two menacing male figures on either side, continuing this theme into her 1960 abstract Salazar vomiting the Homeland and the collage When We Had a House in the Country We’d Throw Marvellous Parties and Then We’d Go Out and Shoot Black People (1961).
The Family (1988) has been interpreted in several ways. The large-scale acrylic work depicts a mother and her daughters dressing (or undressing) their father, one of the older woman’s arms blocking the man’s face. Was the image inspired by Rego’s own life nursing Victor Willing through MS, or was Rego empowering victims of the patriarchy, finally restraining an abusive male?
Rego began the Dog Women series in 1994 with Dog Woman, showing a woman crouching on all fours on what appears to be muddy ground. The woman seems to be in absolute despair, her expression articulating her feelings far more than words can.
In 1998, following the failure of a referendum to legalise abortion in Portugal, Paula Rego created paintings, etchings and pastels, inspired by her own abortions and the suffering she had seen in women who had had illegal terminations. A second referendum in 2007 saw eight of her etchings reproduced in Portuguese newspapers, which were credited with helping to sway public opinion (abortion was legalised).
Her later works explored themes of FGM and people-trafficking.
Paula Rego’s father owned the first private cinema in Lisbon, where she was able to enjoy Disney movies. In 1995, when she was asked by the Hayward Gallery in London to create a piece for the exhibition Spellbound: Art and Film, Rego was inspired by Walt Disney’s 1940 classic Fantasia and reimagined the film’s “dancing ostriches” sequence through a feminist lens across eight large panels, replacing the balletic birds with women (often her muse, Lila Nunes) who do not conform to stereotypical ideals of beauty. At the same time, Rego created five artworks inspired by the Disney Version of Snow White but again subverting the story.
Yes, there is—designed by architect Eduardo do Souto de Moura, the Casa das Histórias Paula Rego opened in 2009 in Cascais. Inside there is a collection of her paintings, prints and drawings, alongside work by her husband, Victor Willing.
Recognition for Paula Rego’s work came relatively late in her career, following a celebrated exhibition at Serpentine Galleries in London in 1988. Coming just months after Victor Willard’s death, the new-found popularity for her work offered her more financial certainty.
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