In a remarkable revelation, the profound impact of Edvard Munch on the work of Paula Rego has come to light, thanks to a recently discovered painting and a poignant letter from the late artist. This newfound evidence underscores the artistic dialogue between two titans of modern art, bridging the landscapes of Norway and Portugal. It highlights Rego’s formative experiences that shaped her distinctive approach to figurative painting, revealing how Munch’s emotive style resonated with her from an early age.
The Discovery That Shook the Art World
For decades, the artistic lineage connecting Edvard Munch, the iconic Norwegian painter, to Paula Rego, one of the foremost figures in Iberian art, remained obscured. However, the recent unveiling of a small yet significant painting titled *Drought* alongside a letter penned by a teenage Rego in 1951 has illuminated this forgotten facet of art history.
Rego, who passed away in 2022 at the age of 87, had a transformative experience at a Munch exhibition held at the Tate Gallery in London during her teenage years. In a letter addressed to her mother, Maria, she expressed her fascination with Munch’s work, particularly struck by his renowned pieces, *The Scream* and *Inheritance*. “It’s so impressive, so impressive that you can’t imagine,” she wrote, encapsulating the emotional intensity that Munch’s art evoked within her.
This sentiment of admiration laid the groundwork for Rego’s own artistic evolution, culminating in her 1953 painting, *Drought*, which features a haunting portrayal of a pregnant woman holding a skeletal child—a direct echo of Munch’s thematic explorations of despair and loss.
Artistic Dialogue: Munch and Rego
The painting *Drought*, measuring just 65cm by 22cm, was rediscovered in 2015 by Rego’s son, Nick Willing, while sorting through her belongings in Portugal. Until its recent unearthing, it had languished in obscurity, much like the influence of Munch on Rego’s oeuvre. Upon its discovery, art historian Kari J Brandtzæg of Norway’s Munch Museum recognised immediate parallels between Rego’s work and Munch’s emotive use of colour and form. “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 noted.
This connection becomes even more significant in light of Rego’s upcoming exhibition, *Dance Among Thorns*, set to open at the Munch Museum in Oslo on 24 April. Curating this exhibition, Brandtzæg was astonished to learn of Rego’s formative encounter with Munch’s art, leading her to explore the thematic parallels in both artists’ works.
As she examined pieces like Rego’s *The Dance* and *Time – Past and Present*, Brandtzæg discerned a silent conversation occurring between their respective visual languages. “There is a kind of dialogue with Munch’s pictures,” she reflected, recognising how Rego’s art resonates with Munch’s emotional intensity.
Rego’s Admiration and Artistic Growth
Despite the clear signs of Munch’s influence, concrete evidence of Rego’s active engagement with his work remained elusive until the recent discoveries. While Willing confirmed that his mother held Munch in high regard, Brandtzæg’s research yielded little documentation of Rego visiting Oslo or other exhibitions of Munch’s art. “There was no concrete evidence connected to when and how Rego might have experienced Munch’s work,” she admitted, capturing the detective-like nature of her pursuit.
The breakthrough came with the identification of the 1951 letter and an oral interview where Rego recounted attending a significant Munch exhibition in Paris the following year. “That gives you some understanding of how important and connected she felt to Munch,” Brandtzæg explained, noting Rego’s insistence on revisiting Munch’s work, which deeply resonated with her own artistic aspirations.
Rego’s reflections on Munch’s paintings, describing them as “amazing” and “very emotional,” reveal the deep connection she felt. “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 stated, acknowledging the inspiration that Munch provided in her own artistic journey.
The Lasting Legacy of Artistic Influence
As the art world prepares to celebrate Rego’s legacy in Oslo, the revelations about her connection to Munch serve as a testament to the enduring power of artistic influence. Brandtzæg posits that Munch became an “idol” for Rego, offering her not just inspiration but also a sense of validation in her pursuit of expression through art. “Munch became a friend in art she could look at and get ideas from,” she remarked, encapsulating the essence of how artists often draw upon the works of those who came before them.
With the unveiling of *Drought* and the accompanying narrative of Rego’s formative experiences, the connection between these two extraordinary artists is not merely a footnote in art history but a vibrant part of their shared legacy.
Why it Matters
This exploration into the ties between Edvard Munch and Paula Rego is not just a celebration of their individual talents but a profound reminder of the interconnected nature of artistic expression. It highlights how influences can shape an artist’s voice, often in unexpected ways, and underscores the importance of rediscovering and acknowledging the relationships that form the foundation of artistic innovation. In doing so, we are invited to reconsider the narratives of art history, recognising the threads that bind creators across generations and geographies.
