Publicação
De profundis: a cartography of the face in the work of Paula Rego
| Resumo: | Born in 1935 in a country ruled by a fascist government that was not only a dictatorship, but also deeply patriarchal,1 Paula Rego left Portugal at a very young age because, as her father said at the time, “this is not a place for women, this country. You go away.”2 Fortunate in having been born into a rich, bourgeois family, with a rather progressive father (an electronic engineer) and in the fashionable resort town of Estoril, near Lisbon,3 she moved to England when she was only 16 years old. There she studied painting at the Slade School of Art between 1952 and 1956. Even though Rego remembers it as a place of artistic freedom, John McEwen, in his biography of the artist, notes the similarities between the institution and the gendered repression in Portugal that was then at the peak of the New State Regime: “The Slade might have been the smartest of art schools but in its male domination … it could echo Portugal. Paula particularly disapproved of the way women were not treated as equals, and the fact that the rich girls were admitted at the expense of poor ones in the hope that they would support struggling young male artists by marrying them.”[4] [...] |
|---|---|
| Autores principais: | Oliveira, Márcia |
| Assunto: | Paula Rego Faciality Humanidades::Artes |
| Ano: | 2018 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade do Minho |
| Idioma: | inglês |
| Origem: | RepositóriUM - Universidade do Minho |
| Resumo: | Born in 1935 in a country ruled by a fascist government that was not only a dictatorship, but also deeply patriarchal,1 Paula Rego left Portugal at a very young age because, as her father said at the time, “this is not a place for women, this country. You go away.”2 Fortunate in having been born into a rich, bourgeois family, with a rather progressive father (an electronic engineer) and in the fashionable resort town of Estoril, near Lisbon,3 she moved to England when she was only 16 years old. There she studied painting at the Slade School of Art between 1952 and 1956. Even though Rego remembers it as a place of artistic freedom, John McEwen, in his biography of the artist, notes the similarities between the institution and the gendered repression in Portugal that was then at the peak of the New State Regime: “The Slade might have been the smartest of art schools but in its male domination … it could echo Portugal. Paula particularly disapproved of the way women were not treated as equals, and the fact that the rich girls were admitted at the expense of poor ones in the hope that they would support struggling young male artists by marrying them.”[4] [...] |
|---|