Obituaries

Paula Rego obituary: Painter whose stark images disrupted the male view of women

Portuguese artist confronted subjection of women, abortion and marriage in often shocking, technically brilliant works

Paula Rego in 2021. The celebrated artist died on June 8th in north London. She was 87. Photograph: Nick Willing via The New York Times

Sat Jun 25 2022 - 05:00

Born: January 26th, 1935

Died: June 8th, 2022

The artist Paula Rego, who has died aged 87, once said that she liked “to work on the edge”, and her many series of paintings and drawings, about the subjugation of women, abortion and the marriage market, cut across social perceptions of the role of women, and disrupted the male view of women and their sexuality.

The anger that built up in her years of subjection to the men in her life – even her husband, Victor Willing, who took up years of her life as she nursed him – enabled her to deploy her art as a political weapon. One of her most famous paintings, The Policeman’s Daughter (1987), needs no interpretation: in it, a scowling young woman cleans her father’s jackboot with one hand while she shoves the other arm up inside it.

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Rego was remorselessly described as a storyteller, which was true, and which cuts across the thrust of the art of the past century (with the exception of surrealism). She claimed her favourite painting was Max Ernst’s depiction of the Virgin Mary spanking the child Jesus. The essence was the sheer visual power of her work, in painting, in fluently wonderful drawings, and in etching and aquatints, carried by a magnificent technique.

When the post-revolution Portuguese – of which Rego was one – ducked out of legalising abortion by simply not turning out to vote in the referendum, she created a series of paintings that exploded like a powder keg in her home country and in Spain. Her masterpiece in this series is the triptych of 1998 showing sordid backstreet abortion parlours in rooms sparsely equipped with a bed and a plastic stacking chair, or an armchair with its cover worn into holes. In one canvas, a woman is curled up in foetal misery; in the second, a woman draws her legs up and braces herself as she grasps her thighs; in the third, a schoolgirl still wearing her blouse and tie draws up her skirt and straddles a plastic bucket as she glares out at the viewer.

Most of her late and best work was done in pastel, including the Buñuel-esque take on a bride in a white silk dress and veil lying submissively on her back (1994), and the series of the same year of women behaving like dogs, scavenging or ingratiating themselves, cowed but utterly aware of their own sexuality. There is nothing else in art like them.

Rego was born in Lisbon under the fascist Salazar dictatorship which, with Roman Catholicism stirred into the mix, was an unholy brew. Women were expected to be seen and not heard. The Regos were middle class and Anglophile.

Paula’s father, José, was an electrical engineer who worked for Marconi; her mother, Maria, ran the home, which had maids and a cook. When Paula was 18 months old her parents moved to London for a year for her father’s work, and she was looked after by her grandparents and an ageing aunt. After her parents’ return, Paula, aged three, was diagnosed with tuberculosis and the family moved to the seaside town of Estoril, spending summers in the fishing village of Ericeira, for her health.

She attended St Julian’s school, an English foundation in Carcavelos, near Lisbon, then was sent to Britain to a finishing school, the Grove, in Kent. In 1952 she went to the Slade School of Fine Art, London, to study painting.

Sun-baked peasants

In 1954, Under Milk Wood was first broadcast on BBC Radio, and it became as popular a talking point in offices and pubs as television’s EastEnders might now (EastEnders, incidentally, was one of the few things that regularly drew her away from the studio in later years). The 19-year-old Rego made her own version of the play in oils on canvas. She brilliantly translated Dylan Thomas’s characters from the imaginary Welsh village into a Portuguese idiom of sun-baked peasants. With this painting she came joint first for the Slade summer composition prize. And then, full stop.

While at the Slade, Rego had met Willing, who was married, seven years older than her, and reckoned by many to be the best painter of his generation. In 1956, Rego’s final year at college, she became pregnant and went home to Portugal to have the baby. Willing left his wife, joined Rego in Portugal, and in 1959 they married and went on to have two more children. He encouraged her to continue drawing to cope with depression, but though she had now developed a powerful line, effectively she disappeared from public view, even though she often visited and kept a studio in Charlotte Street, central London.

In 1966 Willing developed multiple sclerosis and 10 years later the family went back to London permanently. Apart from a couple of shows in Lisbon in the 1970s, Rego dropped out of sight. In 1981, at the age of 46, virtually out of nowhere, she had an eye-opening first London show, at the AIR Gallery, but not until Willing died in 1988 did she feel fully able to compete in public.

Early in the 1990s, Rego became the first artist-in-residence at the National Gallery in London, and while there she carried out a commission to paint a huge mural for the restaurant in the Sainsbury wing.

Tate Liverpool hung a Rego retrospective in 1996. Other major national and international shows followed, including two more retrospectives at Tate Britain, in 2004 and 2021. In 2005 she was commissioned by Royal Mail to create a set of postage stamps in celebration of Charlotte Brontë's Jane Eyre.

Her son, Nick, directed a BBC documentary about his mother in 2017. In 2010, she had been made a dame, a curiously antique award for such a powerfully feminist artist.

For the last quarter of a century, the writer and translator Anthony Rudolf was Rego’s companion and principal male model.

She is survived by her children, Nick, Caroline and Victoria.

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