Ute Petry

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Ute Petry (born February 17, 1927 in Ludwigshafen am Rhein ; † October 18, 2009 there ) was a German artist.

Life

Petry grew up in Ludwigshafen am Rhein, where she lived with her parents and an older sister. From 1948 to 1955 she studied fine arts at the Free Academy Mannheim in the palace with Paul Berger-Bergner and Carl Trummer. We know from her texts that on the one hand there were times of privation, but also very enjoyable ones. Berger-Bergner, with whom she was also friends, had a great influence on the young artist in the early years.

After completing her studies, she worked as a freelance painter from 1956 and had her studio in Mannheim. In retrospect, that was her best time, as she once said: exciting, always wanting to and being able to discover new things, especially “the French”. For the first time she was able to see works by Vincent van Gogh, Pablo Picasso, Georges Braque, Paul Cézanne or Henri Matisse, which influenced her a lot. Like many artists of the time, she was in Salzburg several times in the 1950s at the summer academy with Oskar Kokoschka, who said to her the first time: "That's too French for me." She had her own mind, was rebellious, also in other things. she always smoked, for example, and always had short hair, a hallmark of the emancipated woman. At an early age she kept her studio and apartment separate and recommends this to every woman, a room in which one can withdraw.

In her work, the colors are always what is important, what is essential. The subjects are mostly objects of their surroundings: table, chair, bowl, jug, necklaces or gloves, but often alienated, never realistic. In the 1950s, the colors they used were mostly dark, but they got lighter over the years, no longer needed a contour, and developed the shape out of itself. She always painted with oil, but also uses chalks and casein paints, this mixed technique is very lively and dependent on daylight. In the years after Berger-Bergner's death in 1978, she freed herself from his influence and her main works were created.

More and more often, the table is the focus, the table in the room, the table on which objects lie, but much more important: the table as a surface on which painting takes place, quasi as a stage for painting. Against any central perspective, not conceived in an illusionistic way, often seen from above. This favorite motif of the table led her to create images that were both exciting and meditative. How it goes from three-dimensionality into the surface, how the actual objective subject is transposed into abstraction, is very free.

The painting is often present as a motif: the easel, brush or tubes of paint become completely strange objects when Ute Petry paints them. But the most important thing is the color. The precious color tones that inhabit the picture spaces are often played by the open, only primed canvas as a light tone. But shining out of the dark you can see the turquoise of a squeezed out paint tube, the yellow of a brush, the red of a tube and the gray-blue-white of a feather. The subject as an occasion for painting could be summed up in this way.

Bernhard Holeczek (1941-1994, former director of the Wilhelm Hack Museum, Ludwigshafen) once wrote about her: “A painting of lightness that does not soar into supposedly higher spheres, but instead creates a world from everyday excerpts without sensations that wants to be nothing more than what it (has) stood up for: painting. "

She died on October 18, 2009 in Ludwigshafen am Rhein.

Awards

• 1965 Prize of the City of Ludwigshafen
• 1978 bronze medal of the Polish UNESCO Commission for Fine Arts

Exhibitions

• 2004 Kunstraum Speyer
• 1988 Ludwigshafen Art Association
• 1986 Schifferstadt town hall
• 1985 Waldmohr community center
• 1984 Board of Trustees of the Willibald Kramm Prize Foundation, Heidelberg
• 1983 Gallery Dodel, Rhodt ü. R.
• 1981 Art Association Ludwigshafen
• 1976 City Museum Homburg / Saar
• 1976 Hassbecker Gallery, Eberbach
• 1970 Art Association Ludwigshafen
• 1966 GEDOK Studio, Mannheim
• 1961 City Museum Ludwigshafen
• 1959 GEDOK Studio, Mannheim
• 1957 Institute for Education and Teaching, Mannheim
• 1955 Institute for Education and Teaching, Mannheim

Memberships

• The anchor, Ludwigshafen
• BBK Mannheim-Heidelberg
• GEDOK Mannheim-Ludwigshafen
• Artists Association of Baden-Württemberg
• since 1970 "Great Art Exhibition Munich", Secession

Works in public collections

• State of Baden-Württemberg
• State of Rhineland-Palatinate
• City of Ludwigshafen
• City of Mannheim

literature

• Paul Berger-Bergner and his students. Kunsthalle Mannheim 1979. (Texts: Joachim Heusinger von Waldegg, Günther Ladstetter, Ute Petry, JP Hodin and others)
• Ute Petry: painting. Kunstverein Ludwigshafen, 1981. (Texts: Manfred Fath, Joachim Heusinger von Waldegg, JP Hodin)
• Ute Petry. Kunstverein Ludwigshafen, 1988. (Text: Bernhard Holeczek)