
Paula Rego
Prince Pig and his first Bride (Rosenthal 231), 2006
signed, inscribed "Curwen Archive" and numbered from the edition of two in pencil, on …

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.”

signed, inscribed "Curwen Archive" and numbered from the edition of two in pencil, on Somerset Cream Velvet wove paper, printed and published by the Curwen Studio, Chilford, the full sheet printed to the edges, 656 x 731mm (25 7/8 x 28 7/8in) (unframed)
Please Note: This lot is sold subject to Artist's …

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.”