Paula Rego

Dame Paula Rego, DBE (born 26 January 1935), is a Portuguese visual artist who is particularly known for her paintings and prints based on storybooks. Rego’s style has evolved from abstract towards representational, and she has favoured pastels over oils for much of her career. Her work often reflects feminism, coloured by folk-themes from her native Portugal. Rego studied at the Slade School of Fine Art and was an exhibiting member of the London Group, along with David Hockney and Frank Auerbach. She was the first artist-in-residence at the National Gallery in London. She lives and works in London.

Biography

Early life

Rego was born on 26 January 1935 in Lisbon, Portugal. Her father was an electrical engineer who worked for the Marconi Company. Although this gave her a comfortable middle-class home, 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.

Podcasts:

Famous quotes by Paula Rego:

"It's to look after him. The little face of the lamb looks quite old; it's quite a worried and touching face. The things I couldn't get into David's face I put into the sheep's face. It's complementary; it goes well with him and looks after him. David has the good-looking face of a healthy young man. The sheep complemented it."
"He was brilliantly still, and I've never known anyone so punctual."
"It just didn't look like him; it looked like some movie star."
"If you put frightening things into a picture, then they can't harm you. In fact, you end becoming quite fond of them."
"On the contrary! It's an affectionate picture, a picture of a man of the theatre. It's not at all shocking. He just looks handsome. He's thinking, he's introspective."
PLAYLIST TIME:

Blaargh!!

by: Into It Over It

Can you believe how much we've worked on our technique?
Sunshine for everyone you know
Brian, as we work on scaring you to death
It's become a contest
Of stealth perfection
To always catch you off your guard
We won't have to walk too far
To hide behind a doorway
And burst out screaming your name
If you're outside for too long
If you're seeing clouds of grey
We'll keep seeing sunshine
Everyone you know, Brian, is quiet and crouched down
You haven't made it hard
For a point and click reaction through the lens of a camera-phone
Stealth perfection
To always catch you off your guard
We won't have to walk too far
To hide behind a doorway
And burst out screaming your name
If you're outside for too long
[Jon Loudon:]
(Behind every doorway you'll find us
You're making it so easy
Around every corner you'll find us
Behind every doorway you'll find us
You're making it so easy
You can't hide
Cause you know we'll always find you
It's alright
It's alright)
And I don't trust us either
(And it's alright
It's alright)
And I don't trust us either
Sunshine for everyone you know, Brian
Making the third verse the same as the first
Cause it works over and over and over and over and over and over and over and over again
Stealth perfection
To always catch you off your guard
We won't have to walk too far
We'll hide behind a doorway
And burst out screaming your name
If you're outside for too long
We're behind every doorway
We'll burst out screaming your name




Latest News for: paula rego

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Painter Catherine Goodman On Abstract Palimpsests and Other Realms of Consciousness

New York Observer 20 Mar 2025
A look inside Catherine Goodman’s studio. Photo. Damian Griffiths ... Sign Up For Our Daily Newsletter. Sign Up ... I knew the school of London painters, that was the culture I was brought up in—Paula Rego, Frank Auerbach, Lucian Freud and Leon Kossoff ... .
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The art of sexual innuendo

The Spectator 13 Mar 2025
Most popular. Owen Matthews. Why Russia should agree to a ceasefire – and five reasons Putin might not ... Paula Rego’s 2021 retrospective at Tate Britain demonstrated that, among art critics, ambiguity is still highly prized as a measure of merit ... .
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