CURATOR’S CHOICE VERSION
THE ROAR OF REGO REPRO OP
Dame Paula Rego’s fierce, uncompromising approach has redefined figurative work and changed the way women are represented in art. As a retrospective of her work prepares to open, curator Dr Elena Crippa reveals the thinking behind choice works
SUBS ART
locates her sense of self in the imaginative age of childhood. The presence of a mannequin, combined with biomorphic elements that seem to merge organic and inorganic matter, is reminiscent of the tropes and aesthetics of Surrealism.
‘FROM 1984, FIERCELY INDEPENDENT, REBELLIOUS GIRLS BECOME THE MAIN PROTAGONISTS’ 2 6 / T H E A RTSS R T SS O CIE TY.O TY.ORG RG
BLACK YELLOW MAGENTA CYAN
THE RAFT, 1985 The significant development in Rego’s work throughout the 1980s is clear. She abandoned collage and began to make bold, richly coloured acrylic paintings with fluid outlines. From 1984, fiercely independent, rebellious girls become the main protagonists. The Raft, with its imposing size (242 x 192cm), stark
motifs and vivid colours, is unapologetically bold. Two young girls set off on a raft, confident and pensive, fending off real and imaginary perils and dreams. Small, cartoonish characters, such as the bear on a sailing boat, contribute playfulness and humour to the picture.
MUSEU NACIONAL DE ARTE CONTEMPORÂNEA, MUSEU DO CHIADO, LISBON, PORTUGAL © PAULA REGO; PRIVATE COLLECTION, LONDON © PAULA REGO
CLIENT
This is the first, and one of very few self-portraits Rego has made. As with most of her 1960s work, it was made by collaging cut-out drawings and overlaying them with paint and other drawings in graphite and ink. By putting herself in the picture as a little girl, Rego
LEEDS MUSEUMS AND GALLERIES (LEEDS ART GALLERY)/BRIDGEMAN IMAGES © PAULA REGO;
PRODUCTION
SELF-PORTRAIT IN RED, 1966