Painting became her way of making sense of the world, and revenge was not all she used it for
Save time by listening to our audio articles as you multitaskHer mother, stern and unyielding, certainly cleaved to those mores; Paula once painted her as a cabbage and decades later as a spider. But her father was a subversive influence. Liberal and anglophile, he thought Portuguese society was no place for women. He read her Dante’s “Inferno” from the edition scarily illustrated by Gustave Doré, and encouraged her to pick up a pencil and draw.
Theirs was a stormy union, but Willing, like her father, sparked her creativity, encouraging her to dig deep to shape and sharpen her artistic ideas. When he strayed, which he often did, she said nothing, but used her art to exact her revenge.
She refused to conform to the ideal female form; from the beginning her women were fat, sexual, creepy, with splayed hairy legs and skirts lifted. Her first major work at the Slade, a reworking of Dylan Thomas’s “Under Milk Wood”, was set in a Portuguese kitchen, with squawking chickens and muscled women in aprons. “Gutsy”, she liked to call them.
On and off she turned to political subjects, especially anything to do with Portugal. But decades of Jungian therapy, begun after a bout of deep depression in the late 1960s, made her political grievances take on a personal cast. That change was summed up in “The Dance”, a vast painting of three couples dancing in a mountain landscape by moonlight. Two women danced with a small child, one man with a woman who was pregnant. All represented domesticity.
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