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Paula Rego, ‘Little Miss Muffet I’, 1989, Marlborough Graphics
Paula Rego, ‘Little Miss Muffet I’, 1989, Marlborough Graphics
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Little Miss Muffet I, 1989

Etching and aquatint
20 1/2 × 15 in
52 × 38 cm
Edition of 50
Contact For Price
Location
London, New York City
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About the work
Medium
Print
Series
Nursery Rhymes 1989
Paula Rego
Portuguese, b. 1935
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A “painter of stories” celebrated for her dark, complex paintings, prints, drawings, and collages, Paula Rego draws upon folk- and fairytales, literature, and her own biography to create politically charged, deeply unsettling tableaux. Her forceful compositions are imbued with cruelty—both subtle and overt—and permeated with a sense of unease and ambiguity. Foregrounding women and girls, and often using animals as stand-ins for humans, she depicts dysfunctional family relationships, political systems (like that of Portugal’s António de Oliveira Salazar), and social structures. Rego is fascinated by what she calls “the beautiful grotesque” in life and in art. As she describes: “It’s the divine, perhaps. […] I mean some other kind of divine, which connects very strongly to Portuguese folk tales and stories—the strength of them and, very often, the enormous cruelty involved. The cruelty is fascinating.”

Paula Rego, ‘Little Miss Muffet I’, 1989, Marlborough Graphics
Paula Rego, ‘Little Miss Muffet I’, 1989, Marlborough Graphics
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Medium
Print
Series
Nursery Rhymes 1989
Paula Rego
Portuguese, b. 1935
Follow

A “painter of stories” celebrated for her dark, complex paintings, prints, drawings, and collages, Paula Rego draws upon folk- and fairytales, literature, and her own biography to create politically charged, deeply unsettling tableaux. Her forceful compositions are imbued with cruelty—both subtle and overt—and permeated with a sense of unease and ambiguity. Foregrounding women and girls, and often using animals as stand-ins for humans, she depicts dysfunctional family relationships, political systems (like that of Portugal’s António de Oliveira Salazar), and social structures. Rego is fascinated by what she calls “the beautiful grotesque” in life and in art. As she describes: “It’s the divine, perhaps. […] I mean some other kind of divine, which connects very strongly to Portuguese folk tales and stories—the strength of them and, very often, the enormous cruelty involved. The cruelty is fascinating.”

Little Miss Muffet I, 1989

Etching and aquatint
20 1/2 × 15 in
52 × 38 cm
Edition of 50
Contact For Price
Location
London, New York City
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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