瑞金是在出生于1935年1月26日里斯本，葡萄牙。她的父亲是谁的工作的电气工程师马可尼公司。[3]虽然这给了她一个舒适的中产阶级家庭，全家于1936年被划分了，当她的父亲被张贴在英国工作。Rego的父母离开了她身后的葡萄牙在照顾奶奶直到1939年Rego的祖母是成为她的生活显著的人物，因为她从祖母和家庭女佣许多传统民间故事说有一天会做他们的方式了解到到她的艺术作品。

Rego的家庭热衷英痴，和雷哥被送到葡萄牙唯一的英语语言学校的时候，圣朱利安学校在卡卡维卢斯，这是她1945年参加了1951年。虽然名义上是天主教徒，住在一个虔诚的天主教徒国家，圣朱利安学校是圣公会这与Rego的父亲天主教会的敌意相结合有助于打造她精力旺盛的天主教信仰之间的距离。瑞金描述了自己作为已成为一个“之类的天主教徒”，但作为一个孩子，她所拥有的感觉天主教内疚和很强的信念，即魔鬼是真实的。

1951年，瑞金被派往英国参加一个整理的学名叫树丛学校，塞文欧克斯，肯特。不幸的还有，瑞金试图于1952年在艺术开始研究切尔西艺术学院在伦敦，但她在英国的法定监护人，大卫·菲利普斯，谁听说过，一名年轻女子已经怀孕，而学生对这一选择被告知那里。他建议她的父母认为美术学院斯莱德是一个更体面的选择，并帮助她实现的地方在那里。她参加了学校斯莱德从1952年到1956年。

在Slade，瑞金遇到了她未来的丈夫，维克托愿意，谁也是一个学生在那里。1957年，瑞金，并愿意离开伦敦，住在埃瑞塞纳，葡萄牙。他们能够在1959年之后从他的第一任妻子，榛惠廷顿愿意离婚结婚。三年后，Rego的父亲买了夫妇的房子在伦敦，在阿尔伯特街卡姆登镇，和Rego的时间花在英国和葡萄牙之间的分歧。

1966年，Rego的父亲去世了，家里的电器业务被接管，不情愿，由瑞金的丈夫，虽然他自己被诊断出患有多发性硬化症。该公司在1974年过程中失败的葡萄牙革命推翻该国的右翼新国家体制专政，当其制作的作品被接管了革命力量，尽管Rego的家庭一直是政治左派的支持者。这样一来，瑞金，愿意和他们的子女永久移居伦敦，在1988年花费了大部分时间，直到愿意的死亡

职业生涯
虽然雷哥被她的父亲委托，生产出一系列的大型壁画在他的1954年电子厂装饰工程食堂，同时她还是个学生，Rego的艺术生涯有效始于1962年年初的时候，她开始展出伦敦小组，一个历史悠久的艺术家组织其中有大卫·霍克尼和弗兰克·奥尔巴赫其成员之间。1965年，她被选中参加一个群展，六人，在当代艺术学院，ICA，在伦敦。同年，她有她的首次个展在了Sociedade国立贝拉斯阿特斯（SNBA）在里斯本。她也是在1969年的葡萄牙代表圣保罗双年展。之间的1971年和1978年，她有七个展在葡萄牙，在里斯本和波尔图，然后一系列在英国举办个展，包括在AIR画廊在伦敦在1981年时，阿诺菲尼在布里斯托尔，1983年和爱德华Totah画廊在伦敦在1984年，1985年和1987年

1988年，瑞金是一个回顾展的主题卡洛斯提-古尔班基安基金会在里斯本和蛇形画廊在伦敦。这导致了她被邀请成为在第一副艺术家国家美术馆，伦敦于1990年，是什么系列的第一个艺术村的画廊举办的方案的。由此出现了两套工作。首先是一系列关于童谣，这被带到英国各地和其他地方的主题绘画和版画的大不列颠艺术委员会和英国文化协会从1991年至1996年第二次是一系列的大型画作的启发通过的画卡罗CRIVELLI在国家画廊，被称为CRIVELLI花园这是现在住在在画廊主餐厅。

其他展览包括回顾展利物浦泰特美术馆于1997年，德威画廊于1998年，泰特英国美术馆于2005年，伯明翰博物馆和艺术画廊她的工作主要回顾展在索菲娅王后国家艺术中心博物馆在马德里举行的2007年于2007年，前往国际女性艺术博物馆在华盛顿来年。

2008年，瑞金陈列在马尔堡切尔西在纽约，并在巴黎高等高等美术学院上演她的平面作品回顾展尼姆，法国。以及在显示马尔堡美术在伦敦2010年，艺术评论家马可·利文斯通在当代艺术在博物馆举办她的作品回顾展，墨西哥蒙特雷，后来在Pinacoteca圣保罗在巴西所示。

Rego的艺术作品可以在世界各地的许多公共和私营机构中可以看出。艺术家拥有的收藏作品43 英国文化协会的集合中的十部作品英格兰艺术理事会和46作品在泰特美术馆，伦敦。

雷哥目前由马尔堡美术代表。

瑞金是一位多产的画家和版画家，和早些年还制作拼贴作品。[16]她的著名的民间故事和年轻女孩，主要是自1990年以来取得的图像描绘，把绘画和版画，强调强烈，明确划定了形式的方法，对比起来她早期的绘画的风格宽松。

在她早期的作品，比如总是在阁下的服务，绘于1961年，瑞金是强烈影响的超现实主义，并特别工作米罗。这表明本身不仅在影像中出现的这些工作，但在所用的方法，该方法是基于超现实主义想法的类型自动绘图，其中，艺术家试图从制造过程脱开意识的心为了让潜意识直接图像的制作。有时这些画几乎濒临抽象 ; 然而，作为例证萨拉萨尔呕吐国土，画于1960年，当时葡萄牙右翼独裁者萨拉查执政时期，即使她的工作走向抽象改变了方向，具有强烈的叙事元素保持不变。

为什么有瑞金在1960年代采取了半抽象风格的两个主要的原因。首先，在抽象主导前卫的时候，它已成立具象艺术在防守艺术圈。但雷哥也反应对她在培训艺术学校斯莱德，其中一个非常强的重点一直放在解剖图图。在她的同学，后来丈夫的鼓励维克多愿意，瑞金不停地沿着她的官学写生“秘密速写本”，当她在斯莱德，她在其中所做的，仍应按一直皱着眉头类型的自由格式的图纸她的老师。瑞金公司在20世纪60年代的清脆的绘画技巧明显不喜欢显示自己不仅在这样的作品的风格浮士德和她的红猴系列20世纪80年代，它像表现主义漫画书绘画，但在她的公认影响力的时候，其中包括让·杜布菲和柴姆·苏丁。

在瑞金的风格显着的变化，1990年出现了，下面她被任命为伦敦国家美术馆的第一副艺术家，在什么有效的是一个艺术村计划。协理艺术家的职责是要“以某种方式连接到国家美术馆收藏的新工作。” 国家美术馆是压倒性的老大师的收集和瑞金似乎朝着更清晰，更严格的或线性的风格让人想起，她任教于斯莱德高度锻造的绘制技术已经拉了回来。其结果是一系列的作品里面传来表征的Rego的风格流行的看法，与同样强势女性的描写中，有时令人不安的情况下，结合强大的清晰图。作品如CRIVELLI花园有明确联系的画作卡罗CRIVELLI在国家画廊，但在当时提出的其他作品，如约瑟夫的梦想和拟合，从古代大师，如作品画维拉斯奎兹，在题材方面物质和空间表述。

瑞金放弃了在1970年代后期拼贴工作，并开始采用粉彩是在90年代初的媒介。她继续用粉彩到今天，几乎到了油漆的排斥。其中以柔和取得了最显着的作品是她的狗女装系列，其中妇女示坐，蹲，搔抓一般表现为，如果他们是狗。什么是女性考虑的行为，她的许多其他作品，其中似乎有女性暴力或者威胁或实际表现这种对立，造成瑞金与关联女权主义。她承认在年轻的时候读西蒙娜·德·波伏娃的第二性，一键女权主义文本，这个做了深刻的印象她。她的工作似乎也与20世纪90年代艺术的女性主义作家，比如显示在弗洛伊德的批评的兴趣帮腔格丽泽尔达波洛克，与作品如女孩她的裙子提升到一个狗的1986年和两个女孩和狗 1987年出现的有令人不安的性意味。然而，瑞金已经知道责备谁读太多色情内容到她的工作的批评。为妇女unfeminine，兽性或残酷的众生Rego的描绘另一种解释是，这反映了妇女在物理世界中的人类，而不是理想化的女性类型在人的头脑中的物理现实。

Ruijin is a prolific painter and printmaker, and also made collages in his early years. [16] her famous folktale and young girl, mainly the image depiction obtained since 1990, emphasized the painting and printmaking strongly, clearly defined the method of form, compared with her early painting style loose.

In her early works, such as always in your service, painted in 1961, Ruijin was strongly influenced by surrealism and worked specially for Miro. This shows that not only these works appear in the image itself, but also in the method used, the method is based on the type of surrealist idea of automatic drawing, in which the artist tries to separate the conscious mind from the manufacturing process in order to make the subconscious direct image production. Sometimes these paintings are almost abstract; however, as an example of Salazar's vomit to the land, the paintings were painted in 1960, when the Portuguese right-wing dictator Salazar was in power, even though her work changed the direction of abstraction, the strong narrative elements remained unchanged.

There are two main reasons why Ruijin adopted the semi abstract style in the 1960s. First of all, when the abstract dominates the avant-garde, it has established the concrete art in the defensive art circle. But Reggie also reacted to her training at the art school Slade, where a very strong focus has been on the anatomy map. In her classmate, later her husband encouraged Victor to be willing to, Ruijin kept following her official sketching "secret sketch book". When she was in Slade, what she did in it should still be based on the free-form drawing of the type of frowning her teacher. Regent's crisp painting techniques in the 1960s clearly didn't like to show themselves not only in the style of such works Faust and her red monkey Series in the 1980s, it was like expressionist comic book painting, but in her time of recognized influence, including Jean dubfield and Chaim Sudin.

A significant change in Regent's style emerged in 1990, following her appointment as the first deputy artist at the National Gallery in London, where what works is an art village project. The role of the associate artist is to "somehow connect to the new work of the National Gallery collection." The National Gallery is an overwhelming collection of old masters and regin seems to be moving towards a clearer, more rigorous or linear style reminiscent of the highly forged drawing techniques she taught in Slade that have pulled back. The result is a series of works that convey the popular view of Rego's style, and the description of the same powerful women, sometimes disturbing, combined with a strong clear picture. Works such as cliveli garden have a clear connection with the painting Carol cliveli in the National Gallery, but other works proposed at that time, such as Joseph's dream and fitting, from ancient masters, such as the painting villasquez, in terms of subject matter and spatial expression.

Ruijin gave up collage work in the late 1970s and began using pastels as a medium in the early 1990s. She continued to use pastels to this day, almost to the exclusion of paint. One of the most remarkable works of softer is her dog dress series, in which women show sitting, squatting and scratching as if they were dogs. What is female considered behavior in many of her other works, which seems to have the opposite of female violence or threat or actual performance, resulting in Ruijin and associated feminism. She admitted that when she was young, she was deeply impressed by reading Simone de Beauvoir's second sex, one key feminist text. Her work also seems to be associated with the disturbing sexual overtones of 1990s art feminists, such as grizel Da Pollock, who showed interest in Freud's criticism, with works such as girl's dress promoted to a dog's 1986 and two girls and dog's 1987 appearance. However, Ruijin has learned to blame critics for reading too much porn into her work. Another explanation for the description of unfeminine, the beast or the cruel creature Rego is that it reflects the physical reality of women in the physical world, rather than the idealized female type in the human mind.

Ruijin is a prolific painter and illustrator, as well as the early years of collage work. [16] her famous folk stories and a young girl, is the image obtained since 1990 picture, painting and printmaking, emphasizing the strong, clear delineation of the form, in contrast to her early painting style loose.
In her early works, such as always at your service, painted in 1961, Ruijin is strongly influenced by surrealism, and in particular the work of miro.  this shows itself not only in the image of the work, but in the method, the method is a type of automatic drawing, based on the idea of surrealism, the artist tries to disengaged from the manufacturing process in order to make the heart consciousness let the subconscious image directly.sometimes these paintings are almost on the verge of abstraction; however, as the example of Salazar vomiting land, painted in 1960, when Portugal right-wing dictator Salazar Hussein, even her work to the abstract changed direction, has a strong narrative elements remain unchanged. 
Why there are two main reasons why Ruijin adopted a semi abstract style in 1960s. First of all, in the abstract dominant avant-garde, it has established the art of art in the defensive circle. But Lei brother also react to her training at the Slade School of art, which is a very strong emphasis has been placed on the anatomy of Tutu. In her classmates, and later her husband encouraged Victor to Ruijin non-stop along her official sketch "secret sketch book", when she was in Slade, she had done them, still by the teacher has been wrinkly eyebrows free form type of her drawings. Ruijin company in 1960s was not clear painting skills not only show their love in this style of work Faust and her red monkey Series in 1980s, it is like a comic book expressionist painting, but when her recognized influence, including Jean Dubuffet and Chaim Sudin. 
Significant changes in the style of Ruijin emerged in 1990, following which she was appointed as the first associate artist at The National Gallery in London, in what works is an art village program. Associate artist's job is to "the new work is somehow connected to the The National Gallery." The National Gallery is an overwhelming collection of old masters and Ruijin seems to be moving towards a more clear, more strict or linear style reminiscent of rendering techniques she has taught at the Slade height has been forging back. The result is a series of works that have been developed to characterize the popular view of the style of the Rego, with the same strong female depiction in the sometimes disturbing situation, combined with a strong clear graph. There is a definite link works such as CRIVELLI garden paintings Carol CRIVELLI at the National Gallery, but was raised in other works, such as the dream and fitting Joseph, from the ancient masters, such as works of painting Vilas Vazquez, expressed in subject matter and space. 
Ruijin abandoned in the late 1970s collage, and began using pastel in early 90s media. She continued to use pastel today, almost to the exclusion of paint. The soft [24] have made the most significant works is her dog dress series, including women sit, squat, scratching the general performance, if they are dogs. What is the behavior of women, many of her other works, which seem to have a female violence or threat or actual performance of this confrontation, resulting in Ruijin and associated feminism. She admitted the second reading of Simone de Beauvoir young, a feminist text, this made a deep impression on her. [25] her work seems to be with the art of the 1990s feminist writer, as shown in the criticism of Freud's interest in Gerri Zelda Pollock and chimed in works such as the girl, her skirt to a dog in 1986 two and the girl and the dog appeared in 1987 have unsettling means. [26], however, Ruijin has been known to blame those who read too much pornographic content to the criticism of her work. [24] unfeminine for women, brutal or cruel beings Rego describe another explanation is that this reflects the women in the physical world, rather than the ideal type of women in the minds of the physical reality.