期刊名称：E-Fabulations : e-Journal of Children's Literature
电子版ISSN：1646-8880
出版年度：2007
卷号：01
出版社：Universidade do Porto
摘要：After six months of hard work to produce the huge canvas of The Dance (1988),1 Paula Rego felt the need of a significant change in her approach to painting, not only as far as her thematic and model references were concerned but also in all technical means involved. Since her days at Slade School in the late 50’s, Rego had become familiar with the technical use of ‘aqua-fortis’ and ‘aquatint’ in the exquisite art of engraving, which often offered her a liberating escape from more complex rituals of painting (Bradley 2002: 47). In the process of engraving the artist draws directly on a copper sheet (previously prepared with wax), as the images seem to have a fluency of their own, flowing freely and abundantly from her imagination and not from models, as is the case of most of Rego’s paintings. Half-way between pure creation and mechanical ability, in a sort of unpredictable compromise of genius and skillfulness, Paula Rego’s engravings translate her absolute handling of drawing techniques and the need of a correct treatment of lines, forms, colour and shade, aware of the fact that the images printed from the copper sheet will be exactly the reverse from those previously drawn, as in a mirror-like symmetrical projection.
