This week, Tate Britain
will open the UK's largest and most comprehensive retrospective of the work of Paula Rego. An uncompromising artist of extraordinary imaginative power, Rego (b.1935) redefined figurative art and revolutionised the way in which women are represented. This exhibition will tell the story of this artists remarkable life, highlighting the personal nature of much of her work and the socio-political context in which it is rooted. It will reveal her broad range of references, from comic strips to history paintings. Featuring over 100 works including collage, paintings, large-scale pastels, drawings and etchings, it will span Regos early work from the 1950s to her richly layered, staged scenes from the 2000s.
The exhibition will begin with a selection of Regos rarely seen early works in which the artist first explored personal as well as social struggle. In Interrogation 1950, painted at fifteen years of age, Rego asserted her commitment to denouncing injustices and standing up for victims. In her paintings, collages and drawings from the 1960s to 70s, Rego passionately and fiercely opposed the Portuguese dictatorship, using a range of sources for inspiration including advertisements, caricatures and news stories. She also explored folk tales as representations of human psyche and behaviour, as with Brancaflor The Devil and the Devils Wife in Bed 1975.
Rego abandoned collage in 1980 and returned to painting, combining childhood memories with her experiences as a woman, wife and lover. The exhibition will include major paintings from this period such as examples from The Vivian Girls series, in which girls rebel against a coercive society, and the seminal works that established Regos reputation when first exhibited at the Serpentine Gallery in 1988 including The Policemans Daughter 1987. Many of these pictures relate to Regos intense relationship with her husband, the painter Victor Willing, who for many years suffered from multiple sclerosis and died in 1988.
Throughout her career, Rego has been fascinated with storytelling and this imbues much of her work. The exhibition will include prints from her series Nursery Rhymes 1989 in which Rego explores the strangeness and cruelty of traditional British childrens songs. As the first artist-in-residence at the National Gallery, Rego also took inspiration from art history, weaving references to old masters such as Hogarth and Velázquez into paintings in which the protagonists are women, exploring their struggle and their journey towards emancipation, as in The Artist in Her Studio 1993.
The exhibition will feature Regos large pastels of single, female figures from the 1990s to 2000s, including the Dog Woman and Abortion series, some of the artists most celebrated and arresting pictures. Works from the Abortion series, which the artist was proud to see used to campaign for the legalisation of abortion in Portugal, depict women in the aftermath of illegal abortions. Possession 2004, another major series of pastels rarely exhibited, combines Regos personal experience of depression and therapy with inspiration from 19th century staged photographs of women diagnosed as suffering from hysteria.
The exhibition will invite visitors into Regos creative world and explore the mise-en-scènes that the artist has been setting up, drawing and painting in her studio throughout the 2000s. Seminal paintings from this period will include War 2003 and The Pillowman 2004. The exhibition will also bring together striking works addressing the issues of womens trafficking and female genital mutilation. These powerful images confront difficult stories of pain and abuse that Rego feels need to be told.
Paula Rego is curated by Elena Crippa, Curator, Modern & Contemporary Art, with Zuzana Flaková, Assistant Curator, Modern & Contemporary British Art, Tate Britain. It is organised by Tate Britain in collaboration with Kunstmuseum Den Haag. It will be accompanied by a fully illustrated catalogue from Tate Publishing.