How Paula Rego’s Dancing Ostriches series ‘captures the fables, fantasies and frictions of the female experience’

When Paula Rego was a child, her father owned the first private cinema in Lisbon. Sitting with her grandmother in the subterranean darkness, she thrilled to the world of Walt Disney, relishing the mystery, the enchantment and the combination of delight and fear the animator instilled in his storytelling.

No surprise then that, in 1995, when the Hayward Gallery in London invited Rego to create an artwork for the exhibition Spellbound: Art and Film (a celebration of 100 years of cinema in Britain), the artist found inspiration in Disney’s brilliant 1940 folly, Fantasia.

Taking the film’s ‘dancing ostriches’ sequence, in which a gaggle of coquettish birds perform Dance of the Hours from Amilcare Ponchielli’s opera La Gioconda, Rego offered up a feminist perspective across eight large panels, translating Disney’s witty anthropomorphism into a group of women who rail against balletic stereotypes of youth, beauty and femininity.

A work from the series, formerly part of the Saatchi collection, is to be offered at Christie’s in the 20th/21st Century: London Evening Sale on 5 March 2026. According to Katharine Arnold, Christie’s vice-chairman, 20th/21st Century Art, and head of Post-War & Contemporary Art, Europe, the work ‘captures the fables, fantasies and frictions of the female experience’.

Born in Portugal in 1935, Rego grew up under António Salazar’s dictatorship. Her father, an electrical engineer, opposed the regime, and although they had a comfortable middle-class existence, the family lived in fear of reprisals from the brutal government. Rego channelled this anxiety into her art, saying later, ‘If you are frightened of something, the best thing is to draw it.’

As an adult, Rego retained this perspective, painting strange dramas in which women, children and animals acted out unsettling scenarios. She discovered that the best way to tell stories about the oppression of women was to use flat colours, hard outlines and abrupt shifts in scale.

Dancing Ostriches features Rego’s regular muse Lila Nunes in multiple positions, wearing a feathery black tutu similar to the ones in Fantasia. However, where Disney’s animators drew their characters from ‘a very tall, ostrich-like girl’, Rego deliberately chose a different approach.

The awkward poses and direct expressions of Rego’s dancers are curiously reminiscent of Edgar Degas’s pastel depictions of ballerinas backstage at the theatre. Like Rego, Degas strove to reveal something of the human beneath the costume. His use of pastel also set a precedent for Rego, who had, in the early 1990s, just begun to explore the medium, finding in its chalky application a middle ground between painting and drawing.

Rego once said she was a ‘poacher’ who liked to subvert the work of Old Masters in her pictures. When asked how she dared to approach such a thing, she answered: ‘You don’t approach it ever — you ease into it sideways.’ In Rego’s pastel panels, the women recall the strange cast of characters in Velázquez’s mysterious court painting of 1656, Las Meninas, echoing the oddly shaped bodies and the unsettling atmosphere that pervades the scene.

When Dancing Ostriches was first exhibited, the critic John McEwen wondered if Rego’s decision to use the same model multiple times reflected the artist’s feelings about the ageing process, with Nunes as her alter ego. A diptych from the series, also featuring Nunes, who described the works as ‘doors to all the other pictures in the series… like a chapel’, sold in 2023 for £3,065,000 at Christie’s in London. In 2025, a triptych sold for £3,466,000, also in London.

Rego, who was 60 when she painted the works, admitted that ‘the Ostriches couldn’t have been done if I hadn’t been the age I am. A younger woman wouldn’t know what it was like, longing for things that are not gone, because they’re inside one, but are inaccessible.’

In what is essentially an image of empowerment, Rego’s dancers are alive with raw, carnal passion. They seem to represent the aspirations we allow ourselves, the realities we must face, and the fantasies that might somehow allow the two to be reconciled.

Christie’s 20th/21st Century Art auctions take place in London and online, from 25 February to 19 March 2026. Explore the global tour, preview exhibition and sales

Related artists: Paula Rego