Old Meets New
Paula Rego
From 25th of May to the 30th of October 2016
Exhibition prolonged until 26th of February
2017
Opening the 25th of may at 6 pm
Curatorship: Catarina Alfaro
Appropriation of stories through the written word is a
fundamental and recurring exercise in Paula Rego's work. Her period
of study at the Slade School of Fine Art, in London, from 1952 to
1956, was a determining factor for the stimulation of this line of
research, allowing her to develop a personal figurative language in
which her universe of identity references is always present.
A concern to impose a realistic stamp on her works, thus starting
from the reality closest to her, that of Portugal, lies at the
origin of Paula Rego's pictorial research and is also shared by the
Portuguese writer she most admires, Eça de Queirós (1845-1900). The
process of social and political denouncing is drawn up by both of
them through close observation of daily life that reflects, despite
the chronological distance separating them, the way the
ideological, philosophical, political and even moral context of
realism was determining in the defining of their artistic and
literary paths.
The choice of the narratives from Eça de Queirós's work by Paula
Rego to use as a starting point for her new series of works,
Cousin Bazilio (1878) and The Relic (1887), was
carried out in full coherence with the overall theme of her work:
moral and social dramas; human relationships, with neither
artifices nor heroes.
Each scene is recreated in a visual sequence of key moments of
drama, and the titles Rego gives these works may vaguely identify
the plots in Eça's novels. There is no doubt that her paintings
symbolically share the places and characters called up by these
literary images, but above all there is always a transforming
intent taken on by the artist, which autonomises the paintings in
relation to the original stories. These fictions are staged,
represented and reinterpreted in this space of intimacy where these
stories take on life through the living models - and particularly
Lila Nunes. Paula Rego also chooses the costumes, dressing all the
characters in clothes created specifically for the pictorial
narrative moment. Other key elements are added to the composition,
the furniture and other decorative aspects - such as wallpaper,
rugs, ornaments - which are here methodically incorporated. The
characters occupy this stage space, directly intervening in it,
taking their places on the set according to their leading or
secondary role, granting a new life to the stories. In this clearly
authorial and often self-referential approach the works are no
longer subjected to their exterior references, in a marked strategy
of transgression. They in turn gain a new meaning as, on the canvas
or on paper, they are articulated with elements and stories that
only have to do with the artist.
Paula Rego has used the techniques of engraving and lithography in
order to express her critical voice that is often biting and
socially intervening. The best examples of this social denouncing
are her series Abortion (1999-2000) and Female Genital
Mutilation (2009).
The latter series is presented for the first time at the Casa das
Histórias Paula Rego, making us aware of a terrible social problem
with religious undertones that particularly affects young girls
between birth and puberty. Paula Rego depicts this cruel and
traumatic surgical process, creating the horrific images demanded
by the subject.
Also of note in this exhibition is three works from a series of
six carried out in 2014 on the life of the last king of Portugal,
King Dom Manuel II, the King of Longing, in which she returns to a
reflection of the life of exile begun in 1963 with the work The
Exile [An old exile dreaming of his youth].