An intriguing connection has emerged between two titans of art, Edvard Munch and Paula Rego, revealing the profound influence the Norwegian master had on the Portuguese artist. The discovery of a forgotten painting and a heartfelt letter penned by a young Rego has illuminated how Munch’s work shaped her early artistic vision and career.
A Formative Encounter
For decades, the parallels between Munch, the iconic modernist known for his emotionally charged pieces, and Rego, celebrated for her poignant figurative work, went largely unnoticed. However, following Rego’s passing in 2022 at the age of 87, new findings have shed light on the significant impact Munch had on her development as an artist.
In 1951, a 16-year-old Rego, then a student at a finishing school in Kent, attended an exhibition of Munch’s works at the Tate Gallery in London. An unearthed letter to her mother, Maria, reveals her awe: “What impressed me most was an exhibition there by a modern Norwegian painter, Edvard Munch,” she wrote. Rego vividly described Munch’s renowned painting, *The Scream*, along with another piece titled *Inheritance*, which depicts a grieving woman cradling a skeletal child. “It’s so impressive, so impressive that you can’t imagine,” she expressed, clearly moved by the power and emotion encapsulated in Munch’s art.
The Discovery of *Drought*
Fast forward to 2015, when Rego rediscovered a small painting titled *Drought* while organising her family home in Portugal. This 65cm by 22cm work, painted during a period of severe drought in her homeland, strikingly features a pregnant woman with a skeletal infant, echoing the themes of despair and loss present in Munch’s *Inheritance*. After Rego’s death, her son Nick Willing and the head of her estate found the painting hidden away in her London studio, having never been publicly displayed.
The parallels between *Drought* and Munch’s iconic works did not go unnoticed. Art historian Kari J. Brandtzæg from the Munch Museum remarked on the clear connection in colour and technique, noting the rough brushwork reminiscent of Munch’s style. “It was so obvious in the use of red and yellow and also how it was painted, very roughly, as Munch did in his 1890s paintings,” she stated.
Uncovering the Artistic Dialogue
As Brandtzæg prepared for the upcoming exhibition, *Dance Among Thorns*, dedicated to Rego at the Munch Museum in Oslo, she was initially unaware of the influence Munch had on Rego. However, as she delved into Rego’s works, striking similarities emerged between Rego’s pieces and Munch’s. For example, *The Dance* (1988) resonated with Munch’s *The Dance of Life* (1925), while *Time – Past and Present* (1990) bore thematic resemblances to Munch’s *History* (1914).
Brandtzæg expressed her excitement at these discoveries. “It is almost as though Rego is having a silent conversation with Munch’s visual world,” she commented. Despite the lack of concrete evidence linking Rego to Munch’s exhibitions beyond the Tate, Brandtzæg’s tenacity paid off when the letter recounting Rego’s visit surfaced. “It was electrifying,” she declared, highlighting the significance of the revelation in understanding Rego’s artistic foundation.
A Lasting Inspiration
Further investigation revealed that Rego had also attended a Munch exhibition in Paris in 1952, emphasising the lasting impression Munch’s work had on her. Rego herself voiced her admiration for Munch, describing his paintings as “amazing” and filled with emotional depth. “I loved the life in them and all these things that were going on seem to me what I was trying to do, really,” she said.
Brandtzæg posited that Munch became a vital source of inspiration for Rego, offering her both courage and a creative muse. “Munch became a friend in art she could look at and get ideas from,” she elaborated. This relationship underscores a deeper resonance between the two artists, suggesting that both Munch and Rego used their art as a means of self-exploration and expression.
Why it Matters
The rediscovery of Rego’s painting and her letter serves not only to bridge the gap between two pivotal figures in art history but also highlights the enduring power of artistic influence across generations. As we unearth these connections, we gain a richer understanding of how creativity transcends borders and time, shaping the narratives that define our shared human experience. This newfound insight into Rego’s formative years allows us to appreciate her work within a broader context, revealing the intricate web of inspirations that continue to inform contemporary art.
