Paula Rego

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Paula Rego
Born (1935-05-12) 12 May 1935 (age 78)
Spouse Victor Willing
Nationality Portuguese, British
Field Painting, printmaking

Dame Paula Rego DBE (born 12 May 1935) is a painter born in Portugal although she is a naturalised British citizen. Rego studied at the Slade School of Fine Art, and was soon exhibiting as one of the London Group with David Hockney and Frank Auerbach, later becoming artist-in-residence at the National Gallery. She has been the subject of many international retrospectives.

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 an aggressive feminism, coloured by folk-themes from her native Portugal.


Early life[edit]

Rego was born in the Portuguese capital Lisbon, the daughter of 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. Accompanied by Rego's mother, they left Rego behind in Portugal in the care of her grandmother until 1939. Her grandmother was to become a significant figure in Rego's life as she learnt many of the traditional folktales that would one day make their way into her art work from her grandmother and the family maid.[1]

Rego's family were keen Anglophiles, and Rego was sent to the only English language school in Portugal at the time, Saint Julian's School in Carcavelos from 1945 to 1951.[2] Although nominally a Catholic and living in a devoutly Catholic country, St Julian's School was Anglican and this combined with the hostility of Rego's father for the Catholic Church to create a distance between her and full blooded Catholic belief. Rego has described herself as having become a 'sort of Catholic', but equally she possessed as a child a sense of Catholic guilt and a very real belief that the Devil is real.[3]

In 1951, Rego was sent to the United Kingdom to attend a finishing school called The Grove School, in Sevenoaks, Kent. Unhappy here, Rego attempted in 1952 to start studies in art at the Chelsea School of Art in London, but this was thwarted by her legal guardian in Britain, David Phillips, who feared her parents might not approve of their daughter mixing with art students. Returning to Portugal for the holidays that summer Rego discovered quite the opposite was true, and so she applied to study art in London again, this time at the Slade School of Fine Art, which she attended from 1952 to 1956.

At the Slade Rego met her future husband, Victor Willing, also a student at the Slade, although he was already married at the time. Rego and Willing left London to live in Portugal with Rego's parents in 1957, and they were able to marry in 1959 following Willing's divorce.[4] Three years later Rego's father bought the couple a house in London, at Albert Street in Camden Town and Rego's time was spent divided between Britain and Portugal. In 1966 Rego's father died, and the family electrical business was taken over, unwillingly, by Rego's husband, although he had himself been diagnosed with multiple sclerosis. The company failed in 1974 during the Portuguese Revolution that overthrew the country's right wing Estado Novo dictatorship, with the production works taken over by the revolutionary forces, even though Rego's family had been supporters of the political left. As a result Rego, Willing and their children moved permanently to London and spent most of their time there until Willing's death in 1988.[5]


Although Rego was commissioned by her father to produce a series of large scale murals to decorate the works' canteen at his electrical factory in 1954 whilst she was still a student, Rego's artistic career effectively began in the early 1962 when she began showing with The London Group, a long established artists' organisation which included David Hockney and Frank Auerbach among its members. In 1965 she was selected by Roland Penrose to take part in a group show at the Institute of Contemporary Arts (ICA) in London, and that same year she had her first solo show at the Sociedade Nacional de Belas Artes (SNBA) in Lisbon. She was also the Portuguese representative at the 1969 São Paulo Art Biennial. Between 1971 and 1978 she was to have seven solo shows in Portugal, in Lisbon and Oporto, and then a series of solo exhibitions in Britain, including at the AIR Gallery in London in 1981, the Arnolfini in Bristol in 1983, and the Edward Totah Gallery, London in 1984, 1985 and 1987.[6] She also held solo shows in Amsterdam at Espace in 1983, and the Art Place in New York in 1985.[7]

In 1988, Rego was the subject of a retrospective exhibition at the Calouste Gulbenkian Foundation in Lisbon and the Serpentine Gallery in London. This led on to Rego being invited to become the first 'Associate Artist' at the National Gallery, London in 1990, in what was the first of a series of artist-in-residence schemes organised by the gallery. From this emerged two sets of work. The first was a series of paintings and prints on the theme of nursery rhymes, which was toured around Britain and elsewhere by the Arts Council of Great Britain and British Council from 1991 to 1996. The second was a series of large scale paintings inspired by the paintings of Carlo Crivelli in the National Gallery, known as 'Crivelli’s Garden' which are now housed in the main restaurant at the gallery.

Rego was signed by the London based gallery Marlborough Fine Art in 1987, and has shown there on numerous occasions, including a series of works based on Peter Pan in 1992, the celebrated 'Dog Woman' series in 1994, and 'Oratorio', a triptych format altarpiece, in 2010 created for the exhibition 'Mat Collishaw, Tracey Emin & Paula Rego at the Foundling Museum', held at the Foundling Museum, London.[8]

Other exhibitions include a retrospective at Tate Liverpool in 1997, Dulwich Picture Gallery in 1998, Tate Britain in 2005 and Birmingham Museum and Art Gallery in 2007. A major retrospective was also held of her work at the Museo Nacional Centro de Arte Reina Sofia, Madrid in 2007, which travelled to the Museum of Women in the Arts, Washington, the following year.

In 2008, Rego showed at Marlborough Chelsea in New York, and staged a retrospective of her graphic works at the Ecole Superieure des Beaux-Arts, Nîmes. As well as showing at Marlborough Fine Art in London in 2010, the art critic Marco Livingstone organised a retrospective of her work at the Museum of Contemporary Art, Monterrey, Mexico, which was later shown at the Pinacoteca de São Paulo, Brazil.

Rego has 43 works in the collection of the British Council, 10 works in the collection of the Arts Council of England, 46 works in the Tate Gallery, London, and works in the British Government Art Collection, the British Museum, and the municipal collections of the cities of Bristol, Leicester, Rugby and Leeds in the United Kingdom, and the collections of the Sintra Museum of Modern Art, Portugal, the Chapel of the Palacio de Belém, Portugal, the Frissiras Museum, Greece, and the Yale Center for British Art, in the USA.

Honours and awards[edit]

Casa das Histórias Paula Rego

Rego has received honorary doctorates from Winchester School of Art, the University of East Anglia, Rhode Island School of Design and the University of Oxford, and in 2004 was awarded the Grã Cruz da Ordem de Sant'Iago da Espada by the President of Portugal. In 2009 a museum dedicated to Rego's work and named 'The House of Stories; Paula Rego' was opened in the Portuguese town of Cascais, and several key exhibitions of her work have since been staged here.

In 2010, Rego was made a Dame of the British Empire in the Queen's Birthday Honours in 2010 and in the same year won the MAPFRE Foundation Drawing Prize in Madrid. In 2012, she will have retrospective exhibition of her work will be staged at the new Gulbenkian Museum in Paris

Rego is represented by Marlborough Fine Art, London.

Style and influences[edit]

Rego is a prolific painter and printmaker, and in earlier years was also a producer of collage work. Her most well known depictions of folk tales and images of young girls, made largely since 1990, bring together the methods of painting and printmaking with an emphasis on strong and clearly drawn forms, in contrast to Rego's earlier more loose style paintings.

Yet in her earliest works, such as Always at Your Excellency's Service, painted in 1961, Rego was strongly influenced by Surrealism, particularly the work of Joan Miró.[9] This manifested itself not only in the type of imagery that appeared in these works but in the method Rego employed which was based on the Surrealist idea of automatic drawing, in which the artist attempts to disengage the conscious mind from the making process to allow the unconscious mind to direct the image making.[10] At times these paintings almost verged on abstraction, but as proven by Salazar Vomiting the Homeland, painted in 1960, even when her work veered toward abstraction a strong narrative element remained in place, with Salazar being the right-wing dictator of Portugal in power at the time.[11]

There are two principal causes for Rego adopting a semi-abstract style in the 1960s. The first is the simple dominance of abstraction in avant garde artistic circles at the time, which set figurative art on the defensive. But Rego was also reacting against her training at the Slade School, where a very strong emphasis had been placed on anatomical figure drawing. Under the encouragement of her fellow student and later husband Victor Willing, Rego kept a 'secret sketchbook', alongside her official school sketchbooks, whilst at the Slade, in which she made free form drawings of a type that would have been frowned upon by her tutors.[12] This apparent dislike of crisp drawing techniques in the 1960s manifested itself not only in the style of works such as Faust and the Red Monkey series of the 1980s, which resemble expressionistic comic book drawing, but in her acknowledged influences at the time, which included Jean Dubuffet and Chaim Soutine.[13]

A notable change of style emerged in 1990 following Rego's appointment to be the first 'Associate Artist' of the National Gallery, London, which was effectively an artist-in-residence scheme. Her brief was to ' work in whatever way she wished around works in the collection.' As the National Gallery is overwhelmingly an Old Master collection Rego seems to have been pulled back towards a much clearer, or tighter, linear style that is reminiscent of the highly wrought drawing technique she would have been taught at the Slade. The result of this was a series of works which came to characterise the popular perception of Rego's style, comprising strong clear drawing, with depictions of equally strong women in sometimes disturbing situations. Works like Crivelli's Garden have clear links to the paintings by Carlo Crivelli in the National Gallery, but other works made at the time, like Joseph's Dream and The Fitting, also draw spatially and in their subject matter from Old Master works by artists such as Diego Velázquez.[14]

Having given up collage in the late 1970s, Rego began using pastels as a medium in the early 1990s, and continues to use this medium to this day, almost to the exclusion of oil paint.[15] Amongst the most notable works made in pastel are those of her Dog Women series, in which women are shown sitting, squatting, scratching and generally behaving as if they are dogs. This antithesis of what is considered feminine behaviour, and many other works in which there appears to be either the threat of female violence or its actual manifestation, has associated Rego with feminism, and she has acknowledged reading Simone de Beauvoir's The Second Sex, a key feminist text, at a young age and this making a deep impression on her.[16] Her work also chimed with the interest of feminist writers on art such as Griselda Pollock in Freudian criticism in the 1990s, with works such as Girl Lifting up her Skirt to a Dog of 1986, and Two Girls and a Dog of 1987 appearing to have disturbing Freudian sexual undertones.[17] However Rego has been known to slap down critics who read too much sexual connotation into her work.[18]

Another explanation for Rego's depiction of women as unfeminine, animalistic or brutal beings is that this reflects the physical reality of a woman as a human being in the physical world, and not idealised types in the minds of men.[19]

Solo exhibitions[edit]

Paula Rego 1996 nursery rhymes exhibition poster


  • Paula Rego, Brett McDowell Gallery, Dunedin, New Zealand, 12 October – 1 November
  • Paula Rego, Fondation Calouste Gulbenkian, Paris, 26 January - 1 April


  • Paula Rego, Serralves Museum, Oporto,
  • Paula Rego in Focus, Tate Britain,


  • Paula Rego, Corner 2004, Charlottenborg, Copenhagen


  • Paula Rego – Pendle Witches, Hebden Bridge Arts Festival, Linden Mill, Hebden Bridge, N. Yorkshire, 18 June – 20 July
  • Jane Eyre and Other Stories, Marlborough Fine Art, London,15 October – 22 November
  • Paula Rego Jane Eyre, Galeria 111, Brito, Portugal, 8 November


  • Paula Rego - Jane Eyre; Marlborough Gallery Inc., New York, 8 January – 2 February


  • Paula Rego, Celestina’s House, Abbot Hall Art Gallery, Kendal, 11 June – 7 October
  • Travelling to the Yale Center for British Art, New Haven, 18 April – 30 June 2002
  • Together with Paula Rego - Jane Eyre
  • Paula Rego- Nursery Rhymes e Outras Gravuras, Parque das Nacoes, Lisbon
  • So desenhos Paula Rego, Fundacao Arpad Szenes-Vieira da Silva, Lisbon, 11 July – 30 September


  • Paula Rego, Pendle Witches, Children’s Crusade and Drawings, Abbot Hall ArtGallery, Kendal, 10 February – 12 March

1999 Paula Rego - The Children's Crusade - a suite of 12 etchings, Marlborough Graphics, London, 26 January - 27 February Paula Rego - Recent Work, Marlborough Galeria SA, Madrid, 13 February - 27 March Paula Rego O Crime do Padre Amaro, Fundação Calouste Gulbenkian, Lisbon, 18 May - 29 August Open Secrets – Drawings and Etchings by Paula Rego, University Art Gallery, University of Massachusetts, Dartmouth, USA, 18 September – 23 October; Centre Culturel Calouste Gulbenkian, Paris, 16 November – 20 December, curated by Memory Holloway; text by Memory Holloway and Ruth Rosengarten Children’s Crusade, Edinburgh Printmakers Workshop, 28 November – 24 December Nursery Rhymes, White Gallery, Brighton, 21 November 1999 – 21 Jan 2000

1998 Paula Rego: Pendle Witches and Peter Pan, Midland Art Centre, 25 April – 21 May Paula Rego – The Sins of Father Amaro, Dulwich Picture Gallery, London, 17 June -19 July Paula Rego - Pra Lá et Pra Cá, Galerie III, Lisbon Paula Rego – Pendle Witches, Harris Museum, 24 January – 15 March Pendle Witches, Marlborough Galeria Madrid, 25 September – 18 October

1997 Paula Rego Retrospective exhibition, Tate Gallery Liverpool, 8 February - 13 April. Travelling to Fundação das Descobertas, Centro Cultural de Belém, Lisbon, 15 May - 17 August, Lisbon Nursery Rhymes, Nicosia Municipal Arts Centre, Nicosia, Cyprus, 7–12 October. Travelling to Town Hall, Larnaca, Cyprus, 26–29 November. Ainscough Gallery, 6 February – Mid March. Nodrum

1996 Nursery Rhymes, University Gallery, University of Northumbria at Newcastle

1995 Nursery Rhymes, Ty Llen, Cardiff Literature Festival (May - July) Nursery Rhymes and Peter Pan, Annandale Galleries, Sydney Australia; Charles Nodrum Gallery, Melbourne Keel university.

1994 Paula Rego, Dog Women, Marlborough Fine Art, London Art Gallery of Greater Victoria, Victoria BC, Canada

1993 Nursery Rhymes, Cheltenham Literary Festival

1992-1993 Paula Rego Peter Pan & Other Stories, Marlborough Fine Art, London Paula Rego Peter Pan, A Suite of 15 etchings and aquatints, Marlborough Graphics, London

1991-1992 Tales from the National Gallery, Travelling Exhibition: Plymouth City Museum and Art Gallery; Middlesbrough Art Gallery; Whitworth Art Gallery, Manchester; Cooper Art Gallery, Barnsley; the National Gallery, London; The Laing Art Gallery, Newcastle; The Calouste Gulbenkian Foundation, Lisbon

1991-1996 Nursery Rhymes, South Bank Centre, British Council, and Marlborough Graphics Travelling exhibition in the U.K., including: Bridport Arts Centre, Dorset; Rufford Craft Centre, Nottinghamshire; Hove Museum and Art Gallery; Vicarage Gallery, North Shields, Graphics Studio, Dublin.

1990-1991 Nursery Rhymes, British Council Travelling Exhibition in Europe

1990 Nursery Rhymes, Galeria III, Lisbon Nursery Rhymes, Galeria Zen, Oporto

1989 Paula Rego ‑ Nursery Rhymes, Marlborough Graphics Gallery, London Galeria III, ARCO, MadridGaleria III, Lisbon

1988 Retrospective Exhibition, Fundação Calouste Gulbenkian, Lisbon, Casa de Serralves, Oporto; the Serpentine Gallery, London

1987 Selected work 1981‑1986, Aberystwyth Arts Centre and UK tour Edward Totah Gallery, London

1985 The Art Palace, New York Edward Totah Gallery, London

1984 South Hill Park Arts Centre, Bracknell, Midland Group, Nottingham Edward Totah Gallery, London

1983 Arnolfini, Bristol, Galerie Espace, Amsterdam

1982 Galeria III, Lisbon, Edward Totah Gallery, London

1981 AIR Gallery, London

1978 Galeria III, Lisbon

1977 Módulo Centro Difusor da Arte, Oporto

1975 Módulo Centro Difusor da Arte, Lisbon

1974 Galeria da Emenda, Lisbon

1972 Galeria Alvarez, Oporto

1971 Galeria São Mamede, Lisbon

1965 SNBA, Lisbon

Catalogues published[edit]

1961 Il Exposiçao de Artes Plasticas, Fundaçao Calouste Gulbenkian, Lisbon Paula Rego, Fundaçao Calouste Gulbenkian, Lisbon

1965 Alberto de Lacerda: 'Fragmentos de um poema intitulado Paula Rego', Paula Rego, SNBA, LisbonVictor Willing: Six Artists, Institute of Contemporary Art, London, 1965

1967 Art Portugais - Peinture et Sculpture de Naturalisme à nos jours, Brussels

1971 Paula Rego Expoé, Galeria São Mameda, Lisbon

1972 Esposiçao Colectiva, Galeria Sâo Mamede, Lisbon

1974 Salette Taveres: 'A Estrutura Semântica na obra de Paula Rego', Expo AICA, SNBA

1978 Helmut Wohl: Portuguese Art since 1910, Royal Academy of Art, London

1983 Victor Willing: Paula Rego: Paintings 1982 - 3 Arnolfini, Bristol; Galerie Espace, Amsterdam

1984 Deanna Petherbridge: 'Nineteen Eighty-Four in 1984' Camden Arts Centre, London

1985 Lynne Cooke: Paula Rego: Paintings 1984 - 5 Edward Totah Gallery, London, text by Lynne Cooke Alexander Moffat: 'Retrieving the Image', The British Art Show, Arts Council of Great Britain

1986 Alistair Hicks: Paula Rego: Selected Work 1981 - 1986, Aberystwyth Arts Centre Nine Portuguese Painters, John Hansard Gallery, Southampton

1987 70 - 80 Arte Portuguesa, Brazil, São Paulo, Rio de Janeiro, Lewis Biggs and David Elliott, Current Affairs, Museum of Modern Art, Oxford; Feira do Circo, Forum Picoas, Lisbon Paula Rego: Girl and Dog, Edward Totah Gallery, London,

1988 Works on paper by contemporary artists, Marlborough Fine Art, London Victor Willing: Inevitable Prohibitions; Ruth Rosengarten, La Règle du Jeu and John McEwen In Conversation with Paula Rego, Bernardo Pinto de Almeida Paula no Pais das Maravilhas, Paula Rego, Calouste Gulbenkian Foundation, Lisbon and Serpentine Gallery, LondonLewis Biggs: A context for the exhibitions, Cries and Whispers, British Council

1989 Marina Warner Essay in Nursery Rhymes, Marlborough Graphics Gallery, London

1990 John McEwen, Paula Rego The Nursery Rhymes, South Bank Centre Touring Exhibition

1991 Keith Patrick, Maité Lores: From Bacon to Now ‑ The Outsider in British Figuration, Palazzo Vecchio, Florence Germaine Greer and Colin Wiggins Essays for Tales from the National Gallery, National Gallery, London Deanna Petherbridge: The Primacy of Drawing - An Artist's View, South Bank Centre travelling exhibition

1993 Peter Pan & Other Stories, Marlborough Fine Art, London Peter Pan - A Suite of 15 etchings and aquatints, Marlborough Graphics London Judith Collins & Elspeth Linder editors: Writing on the Wall - Women Writers on Women Artists, Tate Gallery, published by Weidenfeld & Nicholson, London

1994 Adrian Searle, Unbound - Possibilities in Painting, Hayward Gallery, London Paula Rego: Dog Women, Marlborough Fine Art, London

1995 An American Passion - The Susan Kasen Summer and Robert D. Summer Collection of Contemporary British Paintings, catalogue edited by Patricia Saligmen

1996 Spellbound - Art and Film, Hayward Gallery, London, text by Marcia Pointon Paula Rego: The Dancing Ostriches from Disney's Fantasia, Marlborough Fine Art, London and Saatchi Collection, London. Introduction by Sarah Kent, essay by John McEwen Marcia Pointon, Familiarity, Fear and the Boundaries of the Body in Paula Rego's Dialogue with Disney, Paula Rego - New Work, Marlborough Gallery Inc., New York

1994-1995 An American Passion - The Susan Kasen Summer and Robert D. Summer Collection of Contemporary British Paintings, catalogue edited by Patricia Saligmen

1996 Spellbound - Art and Film, Hayward Gallery, London, text by Marcia Pointon Paula Rego: The Dancing Ostriches from Disney's Fantasia, Marlborough Fine Art, London and Saatchi Collection, London. Introduction by Sarah Kent, essay by John McEwen Marcia Pointon, Familiarity, Fear and the Boundaries of the Body in Paula Rego's Dialogue with Disney, Paula Rego - New Work, Marlborough Gallery Inc., New York

1997 Nicholas Serota & Lewis Biggs, Preface; Fiona Bradley, Introduction: Automatic Narrative; Victor Willing, The Imagiconography of Paula Rego; Ruth Rosengarten, Home Truths: The Work of Paula Rego; Judith Collins, Paula Rego's Drawing. The Tate Gallery, Liverpool, Retrospective Exhibition: Travelling to: Fundação das Descobertas, Centro Cultural de Belém, Lisbon

1998 Desmond Shawe-Taylor, Paula Rego, Dulwich Picture Gallery 1998-99 Dina Vierny, Bertrand Lorquin, Michael Peppiatt, Jill Lloyd: The School of London - From Bacon to Bevan, Musée Maillol, Paris; Auditorio de Galicia, Santiago de Compostela

1999 Peter Weiermair, Andreas Hapkemeyer, Figuration, Blickle Stiftung Bruchsal; Rupertinum Salzburg; Bolzano Museum Roger Bevan Introduction, Portrait of a City - Seven Figurative Painters from London, John Berggruen Gallery, San Francisco

2000 Timothy Hyman, Roger Malbert, Carnivalesque, Hayward Gallery Travelling Exhibition: Brighton Museum; Nottingham Castle Museum Richard Morphet, Robert Rosenblum, Judith Bumpus, Keith Hartley, Andrew Lambirth, Marco Livingstone, Christopher Riopelle: Encounters: New Art from Old, National Gallery, London

2001 Pippa Coles, Mathew Higgs, Jacqui Poncelet, British Art Show 5, Hayward Gallery, South Bank Centre Travelling exhibition: Scottish National Gallery of Modern Art, Edinburgh; Southampton City Art Gallery; National Museum of Wales, Cardiff; Birmingham Museum & Art Gallery Patrick McCaughey, Richard Cork, Emily M. Weeks, The School of London and their Friends – The Collection of Elaine and Melvin Merians, Yale Center for British Art, New Haven, Neuberger Museum of Art, Purchase, USA.

2001-2002 Paula Rego, Celestina’s House, Abbott Hall Art Gallery, Kendal & Yale Center for British Art. Fiona Bradley, Paula Rego – Recent Works; Edward King interview with Paula Rego

2002 Marina Warner, Metamorphing, The Science Museum, London. Paula Rego- Jane Eyre, Yale Center for British Art, New Haven

2004 Paula Rego, Serralves Museum, Oporto, 15 October 2004 – 23 January 2005. João Fernandes, Introduction and The Stories by Paula Rego, between Painting and Drawing: Ruth Rosengarten: Possessed: Love and Authority in the work of Paula Rego; Marco Livingstone: All that is left behind. Serralves Museum, Oporto. Published in English and Portuguese Christina Bagatavicius, Paula Rego in Focus, Tate Britain, October 2004-January 2005

Books published[edit]

1974 José Augusto França: Pintura portuguesa no século XX, Livraria Bertrand, Lisbon, 1974, 1986

1984 Rui Mário Gonçalves: Pintura e escultura em Portugal, 1940–1980, Lisbon, Instituto de Cultura, Lisbon

1986 Alexandre Melo e Joao Pinharanda: Arte Contemporânea Portuguesa, Lisbon Bernardo Pinto de Almeida: Breve introdução à pintura portuguesa no século XX, Edição do Author, Oportof

1989 Nursery Rhymes, Thames and Hudson

1991 Hector Obalk: Paula Rego, Art Random, Kyoto Shoin International Co. Ltd., Kyoto, Japan

1992 John McEwen: Paula Rego, Phaidon Press Ltd., London

1993 The Art Book, Phaidon Press Ltd, London Peter Pan, Folio Society

1994 Marina Warner, Wonder Tales, Chatto & Windus, London A Portfolio - Nine London Birds, published by the Byam Shaw School of Art, London, introduction by John McEwen

1995 Diana Eccles, Barbara Putt, editors, British Council Collection Catalogue Volume II

1996 John McEwen, Paula Rego, Phaidon Press, London, updated edition in paperback Blake Morrison, Pendle Witches, Enitharmon Press, London John McEwen, Dancing Ostriches, Saatchi Publications

1997 Paula Rego, Tate Gallery Publications

1998 Colin Wiggins, Paula Rego, Dictionary of Women Artists, Volume I, pp 1155–1159, edited by Delia Gaze, Fitzroy Dearborn Publishers, London Frances Borzello, Seeing Ourselves - Women's self-portraits, Thames & Hudson, London, pp 26, 177, 214 Alexandre Melo, Artes Plàsticas em Portugal, Dos Anos 70 aos nossos Dias, Difel, Portugal, pp 28–31 & pp 104 – 107 Elizabeth Cayzer, Changing Perceptions - Milestones in Twentieth-Century British Portraiture, The Alpha Press, Brighton, pp. 87 – 91 Marco Livingstone, Paula Rego - Grooming, in Art: The Critics' Choice, Aurum Press, London Elizabeth Drury, Self Portraits of the World’s Greatest Painters, Parkgate Books, 1999, Page 306

1999 Ruth Rosengarten, Getting Away with Murder – Paula Rego and the crime of Father Amaro, Delos Press, Birmingham Ruth Rosengarten, Paula Rego e O Crime do Padre Amaro, Quetzal Editores, Lisbon

2000 Andrew Graham-Dixon, The Art of Success, Portraits by Snowdon, Vogue, May Chris Dunn, People Looking at Art, Hodder & Stoughton, London Fiona Bradley, editor, Victor Willing, August Publishers

2002 Fiona Bradley, Paula Rego, Tate Publishing

2003 Neil MacGregor, The Daily Telegraph Britain’s Paintings, Cassell Illustrated, 2003, Page 57

2003 Maria Manuel Lisboa, Paula Rego’s Map of Memory: National and Sexual Politics, Ashgate Publishing Ltd., Hampshire

Stephen Stuart-Smith with introduction by Marina Warner, Paula Rego – Jane Eyre, Enitharmon Editions, London T.G. Rosenthal, Paula Rego: The Complete Graphic Work I, Thames & Hudson, London

2004 Robert Hughes, That’s showbusiness – The New Shock of the New, The Guardian, 30 June Ruth Rosengarten, Compreender Paula Rego – 25 Perspectivas, Publico Serralves

2011 Ruth Rosengarten, "Narrating the Family Romance: Love and Authority in the Work of Paula Rego", Manchester University Press.

2012 T. G. Rosenthal, Paula Rego: The Complete Graphic Work II, Thames & Hudson, London

Public collections[edit]

  • Abbot Hall Art Gallery, Kendal
  • Arts Council, London
  • Berardo Collection, Sintra Museum of Modern Art, Portugal
  • British Council, London
  • British Government Collection, on loan to the British Embassy, Lisbon
  • British Museum, London
  • Bristol City Art Gallery
  • Chapel of the Palacio de Belém, Lisbon
  • Frissiras Museum, Athens
  • Leeds City Art Gallery, Leeds
  • Gulbenkian Foundation, Lisbon
  • Metropolitan Museum of Art, New York
  • National Gallery, London
  • National Portrait Gallery, London
  • New Hall, Cambridge
  • Portuguese Embassy, London
  • Rugby Museum and Art Gallery
  • Saatchi Gallery, London
  • Tate Gallery, London
  • Whitworth Art Gallery, Manchester
  • Yale Center for British Art
  • Filomena Soares Art Gallery, Lisbon
  • 111 Art Gallery, Lisbon
  • Cristina Guerra, Lisbon
  • Valbom Art Gallery, Lisbon
  • Colorida Art Gallery, Lisbon
  • Sao Mamede Arte Gallery, Lisbon.

Honorary titles and degrees[edit]

1990 Appointed the First National Gallery Associate Artist

1992 Honorary Master of Art, Winchester School of Art, 12 June

1999 Honorary Doctorate of Letters, University of St. Andrews, Scotland, 24 June Honorary Doctorate of Letters, University of East Anglia, Norwich, 8 July

2000 Honorary Doctorate of Letters, Rhode Island School of Design, USA, 3 June

2002 Honorary Doctorate of Letters, The London Institute, 23 May

2005 Honorary Doctorate of Letters, Oxford University, June Honorary Doctorate of Letters, Roehampton University, July


  1. ^ Mick Brown, 'Paula Rego interview', in The Daily Telegraph (London newspaper, 4 November 2009)
  2. ^ Tate Gallery, Paula Rego (London: Tate Publishing, 1997), p.141
  3. ^ John McEwen, Paula Rego (Oxford: Phaidon Press, 1992) p.25f
  4. ^ John McEwen, Paula Rego (Oxford: Phaidon Press, 1992) p.230
  5. ^ Fiona Bradley (ed.), Victor Willing (London: August Media, 2000) p.10f
  6. ^ Tate Gallery Archives, London, ref. TGA978
  7. ^ Tate Gallery, Paula Rego (London: Tate Publishing, 1997)
  8. ^ Nicola McCartney, 'Paula Rego: Oratorio', in Apollo, 16 July 2010
  9. ^ Victor Willing, 'The Imagiconography of Paula Rego', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.37
  10. ^ Fiona Bradley, 'Introduction: Automatic Narratives', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.9f
  11. ^ Ruth Rosengarten, 'Home Truths: The Work of Paula Rego', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.44
  12. ^ Judith Collins, 'Paula Rego's Drawings', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.121f
  13. ^ John McEwen, Paula Rego (Oxford: Phaidon Press, 1992) p.52-6
  14. ^ Ruth Rosengarten, 'Home Truths: The Work of Paula Rego', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.75
  15. ^ See Benjamin Secher, 'In the studio: Paula Rego', in The Daily Telegraph (London newspaper), 8 November 2005
  16. ^ John McEwen, Paula Rego (Oxford: Phaidon Press, 1992) p.47
  17. ^ Fiona Bradley, 'Introduction: Automatic Narratives', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.13-19
  18. ^ See Benjamin Secher, 'In the studio: Paula Rego', in The Daily Telegraph (London newspaper), 8 November 2005
  19. ^ Fiona Bradley, 'Introduction: Automatic Narratives', in Tate Gallery, Paula Rego (London: Tate Publishing, 1997) p.19

Maria Manuel Lisboa, "Paula Rego's Map of Memory: National and Sexual Politics" (London: Ashgate, 2003)

Further reading[edit]

  • Anon, Paula Rego (London: Tate Publishing, 1997)
  • John McEwen, Paula Rego (Oxford: Phaidon Press, 1992)
  • Maria Manuel Lisboa, "Paula Rego's Map of Memory: National and Sexual Politics" (London: Ashgate, 2003)
  • Fiona Bradley, Paula Rego (London: Tate Publishing, 2002)

External links[edit]