Paula Rego

Untitled VII

1999

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In Tate Britain

Prints and Drawings Room

View by appointment
Artist
Paula Rego born 1935
Medium
Etching on paper
Dimensions
Image: 200 × 295 mm
Collection
Tate
Acquisition
Presented by the artist 2002
Reference
P20240

Summary

This etching is one of a series of powerful works the artist made on the subject of abortion. The prints were produced in an edition of seventeen; Tate owns one of two sets of artist’s copies of seven of them. In addition to the etchings, Rego made a number of drawings and paintings, including the large scale Triptych, 1998 (Marlborough Fine Art, London). Each of the images shows a young woman alone in a room either during or immediately after an abortion.

Rego made these images in response to a referendum on abortion that took place in her native Portugal on 28 June 1998. Portugal, a predominantly Catholic country, has restrictive laws on abortion, allowing it only in specific cases: danger to the life of the mother, incurable illness of the foetus or if the pregnancy was the result of rape. This conservative stance is historic, dating back to the criminalisation of abortion under President António de Oliveira Salazar, whose dictatorship ran from 1932-68. In 1998 a proposal to liberalise the law was approved by Parliament, allowing termination on demand up to ten weeks. A coalition backed by the Church demanded a referendum on the issue. Just under 32% of the population voted, and the proposed change was defeated by less than two percentage points, with 50.92% voting against. In effect, this result blocked the passage of the law (see Lisboa, pp.143-5). Rego was dismayed by the outcome, and galvanized to make work in response. She has said, ‘I got so angry because I’d seen it all in Portugal – the suffering that went on when abortion was totally illegal. It was mind-boggling’ (quoted in ‘Paula Rego interviewed by Edward King, February 2001’, Celestina’s House, p.11).

The women Rego depicts in the series are in domestic surroundings, suggesting that theirs are illegal backstreet abortions. Their bodies and faces are contorted in pain but the women remain stoic and strong, defiant in their right to choose to terminate their pregnancies regardless of whether the church and state approve. Rego emphasises the fact that each woman is alone, framing each one starkly and keeping additional visual information to a minimum. The focus of these images is the women’s physical and mental anguish. Rego avoids sensationalism by declining to display blood and gore. She said, ‘I tried to do it full frontal but I didn’t want to show ... anything to sicken, because people wouldn’t look at it then. And what you want to do is make people look ... make it agreeable, and in that way make people look at life’ (quoted in Celestina’s House, p.11). Her project was directly political and her intention from the outset was to exhibit these images in Portugal. Etchings, pastels and drawings on the subject were shown at the Fundação Calouste Gulbenkian in Lisbon in 1999 and images from the series have since been used to illustrate press articles about the issue of abortion.

This image shows a woman sitting on the edge of a bed, her legs outstretched over the back of two folding chairs which are in front of her. She is incongruously wearing what appears to be a party dress, the skirt of which is bunched between her legs. Next to her on the bed is an oversized metal bucket, the markings on which echo the pattern of the dress. The woman leans back with a grim, focused expression on her face. She braces herself on arms clenched at her sides. Her visible left hand is clenched in a fist. The abortion etchings in this portfolio are deliberately provocative works with a political agenda. The woman’s expression can be seen as a mirror of Rego’s own defiance at the outcome of the referendum. The artist described the women in the series as ‘humiliated and yet ... triumphant, completely triumphant’ (quoted in Celestina’s House, p.12). The expression on the face of the woman in Untitled VII seems to exemplify this combination of degradation and bold non-compliance.

Further reading:
Fiona Bradley and Edward King, Paula Rego: Celestina’s House, exhibition catalogue, Abbot Hall Art Gallery, Kendal, 2001, reproduced no.16 in colour.
Fiona Bradley, Paula Rego, London, 2002.
Maria Manuel Lisboa, Paula Rego’s Map of Memory: National and Sexual Politics, Burlington, Vermont, 2003.

Rachel Taylor
November 2003

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