{"id":320263,"date":"2024-10-30T23:16:51","date_gmt":"2024-10-30T23:16:51","guid":{"rendered":"https:\/\/veritas.art\/lot\/mother-wears-the-wolfs-pelt-2003-1180812035\/"},"modified":"2024-11-18T15:56:55","modified_gmt":"2024-11-18T15:56:55","slug":"mother-wears-the-wolfs-pelt-2003-1180812035","status":"publish","type":"lot","link":"https:\/\/veritas.art\/en\/lot\/mother-wears-the-wolfs-pelt-2003-1180812035\/","title":{"rendered":"[Auction 144] Lot 134 &#8211; &#8220;Mother Wears the Wolf&#8217;s Pelt&#8221;, 2003"},"content":{"rendered":"Pastel on paper","protected":false},"featured_media":320871,"template":"","categories":[47],"class_list":["post-320263","lot","type-lot","status-publish","has-post-thumbnail","hentry","category-modern-and-contemporary-art","author-paula-rego"],"acf":{"auction_number":"144","number":"134","ref":"134","letter":"0","hammer_value":"240000","show_hammer_value":true,"estimation_min":"180000","estimation_max":"250000","price_on_request":false,"author":1582,"auction":{"ID":314147,"post_author":"44","post_date":"2024-07-17 15:38:19","post_date_gmt":"2024-07-17 15:38:19","post_content":"","post_title":"Auction 144 - Modern & Contemporary Art","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"auction-144-modern-contemporary-art","to_ping":"","pinged":"","post_modified":"2024-11-15 17:05:21","post_modified_gmt":"2024-11-15 17:05:21","post_content_filtered":"","post_parent":0,"guid":"https:\/\/veritas.art\/?post_type=auction&#038;p=314147","menu_order":0,"post_type":"auction","post_mime_type":"","comment_count":"0","filter":"raw"},"name":"\"Mother Wears the Wolf's Pelt\", 2003","dimensions":"84x67 cm","description":"Pastel on paper","additional_info":[{"title":"Additional Information","text":"Exhibitions:<br \/>\r\n\"Paula Rego\", Exposi\u00e7\u00e3o Antol\u00f3gica, Museu de Serralves, Porto, 2004-2005, Cat. p. 201; \"Family Sayings\", La Virreina Centre de la Imatge, Barcelona, 2017; \"All the Better to See You With: Fairy Tales Transformed\", The Ian Potter Museum of Art, Melbourne, 2017-2018; \"Paula Rego: Folktales and Fairy Tales\", Casa das Hist\u00f3rias, Cascais, 2018.<br \/>\r\nLiterature:<br \/>\r\nDeryn Rees-Jones, \"Paula Rego The Art of Story\", Thames&Hudson, il. p. 251; \"Paula Rego Retrospective\", Tate Britain, London, il. p.44.<br \/>\r\n<br \/>\r\n<div style=\"padding:56.25% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/1026857299?title=0&amp;byline=0&amp;portrait=0&amp;badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"VERITAS_Leilao_Auction_ PAULA REGO_Mother Wears the Wolf s Pelt_2003_Video-commentary_Fiona Bradley_145\"><\/iframe><\/div><script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script>"},{"title":"Catalogue Essay","text":"The Manipulative Mother<br \/>\r\n<br \/>\r\nThis painting is part of a series depicting \u2013 or rather playing around with \u2013 the European fairy tale of Little Red Riding Hood, the young girl who is tricked into revealing the way to her grandmother\u2019s house by a wolf who promptly beats her to the house and devours first the grandmother then Little Red Riding Hood herself. The tale in its best-known versions (written down in the seventeenth century from several oral sources by Charles Perrault and in the nineteenth century by the Brothers Grimm) is a cautionary one, warning us to be careful about talking to strangers in the wood. In the Grimm version, both Little Red Riding Hood and her grandmother survive, cut from the wolf\u2019s belly by a huntsman who wants the wolf\u2019s skin. The story has been multiply told and re-told, with many a variation and interpretation, most notably by novelist Angela Carter whose \u2018Company of Wolves\u2019 reworks the story as one of puberty, sexual awakening and feminist agency.<br \/>\r\n<br \/>\r\nRego\u2019s series of pastels gives us six moments from the story: \u2018Happy Family: Mother, Red Riding Hood and Grandmother\u2019; \u2018Little Red Riding Hood on the Edge\u2019; \u2018The Wolf\u2019; \u2018The Wolf Chats Up Red Riding Hood\u2019; \u2018Mother Takes Revenge\u2019; and this picture, \u2018Mother Wears the Wolf\u2019s Pelt\u2019. Rego\u2019s Little Red Riding Hood veers between innocent young girl (though \u2018on the edge\u2019 \u2013 of what, sexual maturity as in the Carter story?) and sceptical adolescent, arms folded in the face of the \u2018wolf\u2019, clearly a man, his likeness that of one of Rego\u2019s most persistent models. Rego\u2019s grandmother appears only once, fading into the background of the \u2018happy family\u2019 but the artist inserts a mother into the tale, first embracing her daughter as part of a traditionally imagined maternal hierarchy cruelly disrupted by the wolf; next laying into the wolf with a pitchfork, and finally alone and triumphant in this painting.<br \/>\r\n<br \/>\r\nIn Rego\u2019s version of the story, condensed into this picture, female power and rivalry are to the fore. If Little Red Riding Hood may be interpreted as a fable to do with sexual awakening and coming of age, then there is something about it of the Electra complex; that developmental stage identified by Carl Jung to match the male Oedipus complex, in which a girl experiences her developing sexuality as a psychosexual competition with her mother for the attention of her father. Rego was interested in Jung\u2019s theories, and saw a Jungian analyst throughout her life. Equally, she was interested in traditional children\u2019s tales, making prints and paintings inspired by them throughout her career, and seeing them (like psychoanalytic theories) as capacious, elastic vehicles for individual imagination and collective recognition.<br \/>\r\n<br \/>\r\nIn \u2018Mother Wears the Wolf\u2019s Pelt\u2019, the mother sits smartly dressed in a red velvet dress on a swivel, office type chair. She wears a hat and a fur stole, the shaggy end of which she clutches in one hand like a handbag. Her other hand hovers protectively \u2013 suggestively \u2013 over her stomach. In the narrative dynamics of the series to which the painting belongs, she has clearly dispatched and skinned the wolf, overpowering him and beating her daughter in any psycho-sexual power game they might be playing. Tender in \u2018Happy Family\u2019, determined in \u2018Mother Takes Revenge\u2019, in this painting she is both smug and sly. She has taken her revenge, but on who? And who or what is in her stomach? The wolf? Her daughter?<br \/>\r\n<br \/>\r\nMothers are part of Paula Rego\u2019s regular cast of characters. Rarely straightforward, they can be loving; are sometimes shy, retiring and browbeaten (I am thinking, for example, of the mother fading into the background in \u2018Pregnant Rabbit Telling her Parents\u2019, 1981, or re-imagined as a defeated vegetable in \u2018Rabbit and Weeping Cabbage\u2019, 1982); but can also often be scheming, competitive and manipulative. The mother in this painting seems of the third type. She has about her something of the mothers in the large painting \u2018Betrothal\u2019, one of three panels in the triptych \u2018After \u2018Marriage \u00e0 la Mode by Hogarth\u2019, 1999. The painting shows two mothers engaged in some kind of bridal negotiation. One \u2013 the mother of the girl \u00ac\u2013 perches on the arm of a chair, dressed in high heels, tight skirt and a power jacket. The other, her son cowering nervously behind her, wears and fondles a fur stole uncomfortably suggestive of the wolf\u2019s pelt of the later painting. With its psycho-sexual complexities and ambiguities (the girl, for example, seems to flirt with the viewer as she gazes straight out of the painting while fondling her dog with her feet but it is in fact the gaze of her father, looking at her in a mirror, that she is returning), this painting seems to take something from Rego\u2019s work with the tale of Little Red Riding Hood. <br \/>\r\n<br \/>\r\nThis painting is made in oil pastel, Rego\u2019s signature medium. Working in pastel allowed her to make paintings with a looseness, freedom and immediacy more normally associated with drawing. Rego\u2019s mastery of pastel is to the fore in this painting, her mark making both fluid and descriptive, the surface of the painting alive with a materiality and dynamism that complements the narrative while elevating the painting from the realm of illustration into the kind of original storytelling for which Rego is justifiably admired.<br \/>\r\n<br \/>\r\nFiona Bradley<br \/>\r\n<br \/>\r\nDirector Fruitmarket, Edinburgh<br \/>\r\nCurator \u2018Paula Rego\u2019, Tate Liverpool, 1996-1997<br \/>\r\n"}],"tags":"Modern and Contemporary Art","gallery":[{"image":{"ID":320870,"id":320870,"title":"144_134","filename":"134-1.jpg","filesize":19540495,"url":"https:\/\/veritas.art\/wp-content\/uploads\/2024\/10\/134-1.jpg","link":"https:\/\/veritas.art\/en\/lot\/mother-wears-the-wolfs-pelt-2003-640702675\/144_134\/","alt":"","author":"44","description":"","caption":"","name":"144_134","status":"inherit","uploaded_to":320262,"date":"2024-10-31 00:48:39","modified":"2024-10-31 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