In 1982, the year before she died, the Portuguese artist Sarah Affonso unknowingly did a series of interviews about her long life and career with her daughter-in-law, who kept a tape recorder hidden under a napkin during their conversations. ‘I never sold a painting,’ Affonso said of her fantastical depictions of domestic and rural life, explaining that ‘nobody painted like that at the time’. As a young woman, she had been part of vibrant art scenes in Paris and Lisbon. But in 1939, Affonso gave up painting, strained by the demands of motherhood and discouraged by her lack of critical and commercial success. Since then, Affonso and her work have been overshadowed by her husband, the artist José de Almada Negreiros. But now, 120 years after her birth, Affonso is finally in the spotlight. Two exhibitions in Lisbon – ‘Sarah Affonso and Folk Art from the Minho’ at the Calouste Gulbenkian Museum and ‘The Days of Small Things’ at the Museu Nacional de Arte Contemporânea do Chiado – show the world that, even when she put down her paintbrush, she never stopped making art.