Portuguese-born artist Paula Rego (b. 1935) studied at the Slade School of Fine Art, London. She lives in the UK.
Quotable saying: “Doing work, that is to say, drawing, is an erotic activity.”
Anna Russell writes that the urgency of Rego’s work “in all its savage, tactile vitality” is keenly apparent in her large pastel portraits.
After years of collage, oil paint, and acrylic, switching to pastel was a revelation. (She has called the stick “fiercer, much more aggressive” than the brush.)(Anna Russell, “The Fury and Mischief of Paula Rego,” The New Yorker, 7-7-21)
I’m intrigued by the skewed angles in both paintings; the prominence of the sofa in “Possession I”; that of weirdly inexplicable objects and detail in “The Pillowman.” Is the latter a surreal takeoff on descent from the cross?
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