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- Rego celebrated a physical and individualistic way of being female. According to her Portuguese childhood, wealthy women were pressed to do nothing and working-class women to do everything. As such, not happy with either of these prescribed roles, the artist endeavored to be, and to depict a different type of woman.
www.theartstory.org/artist/rego-paula/
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Rego once described the painter in her as her "masculine side". So how does she see her female side? "In the 1950s, the consensus was that women couldn't be artists – the pram in...
Jul 18, 2021 · Since the 1990s, Rego has explored a variety of powerful feminist themes that reflect on the complexities of modern female identity. Moving away from paint, she began working instead with pastels, a medium that allowed her to manipulate the material with her bare hands, a process she likens to sculpture rather than painting.
- Rosie Lesso
Jun 20, 2019 · In Sleeper (one of the Dog Women series), it is Willing’s jacket on which the woman lies, the woman modelled by Lila Nunes – Willing’s, then Rego’s, long-term assistant, who often represents Rego herself in her paintings.
Jun 8, 2022 · In 1973, Rego started to see a Jungian therapist regularly to help cope with her depression. During the 1980s, many of Rego's paintings were highly erotic, exploring the complexities of female sexuality and the Freudian family drama.
- Portuguese-British
- January 26, 1935
- Lisbon, Portugal
- June 8, 2022
Jul 14, 2021 · The themes of Rego’s pictures can be traced largely to her gender and the country of her birth. She was born in Portugal in 1935 under the Estado Novo regime of the dictator António Salazar, where violence and repression were commonplace and the role of women restricted and traditional.
- Michael Prodger
Jan 19, 2022 · Growing up under the dictatorship of António de Oliveira Salazar in Portugal, the artist was attuned to injustice, particularly against women, from an early age. Interrogation (1950), painted when Rego was only 15, shows a woman, head bowed in despair, sitting in front of her interrogators.
The two women sit askance in a complicated relationship to one another. The daughter, in a frilly white dress, slumps in a chair, looking straight at us, resting one of her bare feet (which have slightly claw-like toes) on a dog, to whom her loyalty is perhaps bound. A suited boy – her presumed match – clings, crouching, to his mother.
