Paula Rego: Nursery Rhymes

Product Information

Paula Rego: The Dancing Ostriches from Disney's Fantasia, Marlborough Fine Art, London and Saatchi Collection, London. Introduction by Sarah Kent, essay by John McEwen (1996) [8] Open Secrets – Drawings and Etchings by Paula Rego, University Art Gallery, University of Massachusetts, USA (1999) [62] Nursery rhymes are traditional rhymes passed onto children by adults. The first known book of rhymes was published around 1744. Many have sought to find hidden meanings or references to political satire within the verse but most are simply nonsensical rhymes that delight and amuse small children. Goosey, Goosey Gander whither shall I wander?

The painting not only recalls grotesque scenes made by the likes of George Grosz and Otto Dix, The New Objectivity artists who made comment on the utter chaos of war time Germany. It also brings to mind the work of the Belgian painter and printmaker, James Ensor. Ensor, like Rego was interested in using masks and other elements of theatrical staging as a tool of contrast that in turn powerfully reveals the most real, and sometimes most disturbing of human behaviours and emotions. Both artists seem to convey that when a mask goes on, people really are capable and subject to the most terrible of horrors. Rosenthal, T. G. (2012). Paula Rego: the complete graphic work. London: Thames & Hudson. ISBN 978-0-500-09368-9. OCLC 776773689. Other exhibitions included a retrospective at Tate Liverpool in 1997, Dulwich Picture Gallery in 1998, Tate Britain in 2005, and Birmingham Museum and Art Gallery in 2007. A major retrospective of her work was held at the Museo Nacional Centro de Arte Reina Sofía in Madrid in 2007, which travelled to the National Museum of Women in the Arts in Washington, D.C., the following year. [21]Rego also won the MAPFRE Foundation Drawing Prize in Madrid in 2010. [80] In 2017 she was one of the first five recipients of the Maria Isabel Barreno prize. [81]

Premios – Paula Rego recibe el Premio Penagos de Dibujo 2010"[Prizes – Paula Rego receives the Penagos Drawing Prize 2010]. Revista de Fundación MAPFRE (in Portuguese). No.14. May 2011. p.40.

Support 850+ museums

This work is illustrated in 'Nursery Rhymes' by Paula Rego, Thames & Hudson and the Folio Society, 1994. Paula Rego was born in Lisbon, Portugal, in 1935. At the time, the country was under a dictatorship, the Estado Novo (New State), which lasted until 1974. The authoritarian regime suppressed political freedom, forcefully maintained its colonies and drastically limited the rights of women. Rego’s parents, who were fiercely anti-fascist and Anglophile, wanted their daughter to live in a liberal country. At the age of 16, she was enrolled in a finishing school in Kent, England. Retrospective Exhibition, Museo Nacional Centro de Arte Reina Sofia, Madrid; National Museum of Women in the Arts, Washington Rego was born on 26 January 1935 in Lisbon, Portugal. [2] Her father was an electrical engineer who worked for the Marconi Company and was ardently anti-fascist. [3] [4] Her mother was a competent artist but, as a conventional Portuguese woman from the early 20th century, gave her daughter no encouragement towards a career, even though she began drawing at age 4. [5] The family was divided in 1936 when her father was posted to work in the United Kingdom. Rego's parents left her behind in Portugal in the care of her grandmother until 1939. Rego's grandmother was to become a significant figure in her life, as she learned from her grandmother and the family maid many of the traditional folktales that would one day make their way into her art work. [6]

Russell, Anna (29 July 2021). "The Fury and Mischief of Paula Rego". The New Yorker. ISSN 0028-792X . Retrieved 24 May 2023. Willing, Victor. Paula Rego: Paintings 1982 – 3 Arnolfini, Bristol; Galerie Espace, Amsterdam, (1983). [8] Tales from the National Gallery, Travelling Exhibition: Plymouth City Museum and Art Gallery; Middlesborough Art Gallery; Whitworth Art Gallery, Manchester; Cooper Art Gallery, Barnsley; the National Gallery, London; the Laing Art Gallery, Newcastle; The Calouste Gulbenkian Foundation, Lisbon Fiona Bradley, 'Introduction: Automatic Narratives', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.9f Strom, A (2004). "Untitled: The Abortion Pastels: Paula Rego's Series on Abortion". Reproductive Health Matters. 12 (24): 195–197. doi: 10.1016/S0968-8080(04)24014-9. JSTOR 3776131. PMID 15938173. S2CID 11886324– via JSTOR.Rego is an incredibly important cultural figure in Portugal, considered to be one of the nation's most famous and influential artists. In 2004, she had another retrospective at the Serralves museum in Porto, which was so popular that it had to keep its doors open 24 hours a day. In 2009, she was honoured by her country of origin through the creation of The Paula Rego House of Stories, a dedicated museum built in Cascais, where she had spent much time as a child. The building was designed by the architect Eduardo Souto de Moura, who seamlessly inserted an impressive contemporary structure into a beautiful natural setting. The museum houses many Rego works, as well as paintings by the artist's late husband, Victor Willing. Rego was a supporter of the football club S.L. Benfica, of which her grandfather was a founding member. [43] Lopes, Isabela Pereira (10 December 2020). "DIÁRIO DA QUARENTENA DE UMA PROFESSORA DA INFÂNCIA: APROXIMAÇÕES COM BOAVENTURA, AGAMBEN E KRENAK". Revista Interinstitucional Artes de Educar. 6 (4). doi: 10.12957/riae.2020.52249. ISSN 2359-6856.

a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az "Paula Rego". Saatchi Gallery. Archived from the original on 27 February 2014 . Retrieved 9 June 2022. At this point in her artistic career, Rego principally made political collages that challenged authority and power structures. The collages resemble Indian illustrations of the epic Ramayana story, and also the work of the American artist, Nancy Spero. The work is rich and interesting but Rego remembers the period as one dominated by depression, noting in an interview, "I seized up and got into a terrible depression. I couldn't keep following the rules; I had to break out." Notable exhibitions include: CalousteGulbenkian Foundation, Lisbon (1988); Serpentine Gallery, London (1988); Tate Liverpool, Liverpool (1997); Dulwich Picture Gallery, London (1998); Yale Center for British Art, New Haven (2001); Serralves Museum of Contemporary Art, Porto (2004); Tate Britain, London (2005); MuseoNacional Centro de Arte Reina Sofía, Madrid (2007); National Museum of Women in the Arts, Washington D.C. (2008); Whitechapel Gallery, London (2010); Tate Britain, London, (2021). ProfileFor now she has put away the folk tales that informed her work, and finds herself "drawing the Virgin Mary over and over", a theme she explored at length for Life Cycle of the Virgin Mary, including Descent from the Cross, another work said to have been inspired by Vic's death. Which of her works is she proudest of? Prémio Maria Isabel Barreno distingue cinco mulheres da cultura portuguesa"[Five women of Portuguese culture receive distinction of Isabel Barreno Prize]. Diario de Noticias (in Portuguese). 10 October 2017. In 2004, Rego asked her model Lila Nunes to pose for a series of large pastels titled Possession I–VII. It was inspired by late 19th century photographs of medical lectures showing women diagnosed with ‘hysteria’. This term was used to describe a wide range of psychological conditions, and has shaped prejudices about women’s assumed weak mental constitution. At the time, some believed hysteria to be ‘demonic possession’.