A recently discovered painting and a poignant letter have illuminated the profound impact Edvard Munch had on the celebrated Portuguese artist Paula Rego. This newfound evidence not only showcases Rego’s admiration for the Norwegian master but also reveals how Munch’s emotive style shaped her early artistic vision.
A Link Between Two Titans of Art
Munch, renowned for his emotive works, including the iconic *The Scream*, stands as a giant in the Nordic art scene. Rego, often hailed as the most significant figurative painter from the Iberian Peninsula, appears to have carried the torch of Munch’s influence throughout her illustrious career. Until recently, the extent of this connection largely went unnoticed.
Following Rego’s passing in 2022 at the age of 87, a meticulous examination of her archives yielded a treasure trove of insights into her formative years. Among them was a letter penned by a 16-year-old Rego, recounting her profound experience at a Munch exhibition at the Tate Gallery in London in 1951. In her correspondence to her mother, Maria, Rego expressed awe at Munch’s works, particularly *The Scream* and *Inheritance*, noting their haunting emotional resonance.
The letter, dated late 1951, reveals Rego’s youthful perception of art: “What impressed me most was an exhibition there by a modern Norwegian painter, Edvard Munch… it’s so impressive, so impressive that you can’t imagine,” she wrote, vividly describing Munch’s depictions of sorrow and despair.
The Rediscovery of *Drought*
Fast forward to 2015, when Rego was rummaging through her family home in Portugal with her son, Nick Willing. They stumbled upon a small, previously overlooked painting titled *Drought*. This evocative piece, measuring just 65 by 22 cm, depicts a pregnant woman with an open mouth cradling a skeletal infant, her gaze turned toward the sun. The palette strikingly echoes the emotional intensity found in Munch’s work, hinting at a deep-seated connection between the two artists.
Willing, alongside the head of Rego’s estate, uncovered the painting shortly after her death. Art historian Kari J Brandtzæg of Norway’s Munch Museum recognised its connection to Munch’s oeuvre. “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.
A Major Exhibition in Oslo
This spring, *Drought* will be featured in *Dance Among Thorns*, the first major exhibition in the Nordic region dedicated to Rego’s work, opening at the Munch Museum in Oslo on April 24. Brandtzæg, who was appointed to curate the show, was initially unaware of Rego’s early exposure to Munch’s art. However, as she selected pieces for the exhibition, striking parallels emerged, such as between Rego’s *The Dance* (1988) and Munch’s *The Dance of Life* (1925).
The curator’s findings suggest a silent dialogue between the two artists. “It is almost as though Rego is having a conversation with Munch’s visual world,” Brandtzæg remarked.
Despite the absence of concrete evidence that Rego had visited Munch’s homeland or seen his works beyond the early exhibitions, the discoveries of *Drought* and the poignant letter solidified the link. Brandtzæg expressed her exhilaration upon uncovering the letter, likening it to winning the lottery in her artistic research journey.
The Emotional Resonance of Munch
In a 2004 interview with the British Library, Rego reminisced about seeing Munch’s work again at the Petit Palais in Paris in 1952. She described his paintings as “amazing” and “very emotional,” stating, “I loved the life in them and all these things that were going on seem to me what I was trying to do, really.”
Brandtzæg suggests that Munch served as an artistic idol for Rego, providing her with inspiration and courage during her formative years. “Munch became a friend in art she could look at and get ideas from,” she explained, highlighting the kinship both artists shared in expressing their innermost feelings through their work.
Why it Matters
This revelation not only enriches our understanding of Paula Rego’s artistic development but also underscores the interconnectedness of artists across time and geography. Munch’s influence on Rego exemplifies how art can transcend boundaries, fostering dialogue that resonates through generations. As we explore these connections, we gain deeper insights into the emotional landscapes that shape artistic expression, reminding us that creativity often thrives in the shadows of past masters.
