Anne (Helen) Petrie

1. References:

This biography is a modified extract from the following source:

1. Personal Biographical Contribution by Sebastian L.S Schwagele- Fan Moniz, from The Mayfair Collection, 23 April 2009.

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Anne (Helen) Petrie was born into a family of Scottish descent. Apart from their main home in Johannesburg, her parents kept a “Summer House” in Fish Hoek and were socialites of the day.

In 1938, a relative who noted Petrie’s great potential Anne at the tender age of 5, cut out an article from the Huisgenoot, dated 18 August, entitled” Hoekom ek skilder” (”Why I Paint”) by renowned artist Maggie Loubser. A diary entry records Petrie was mesmerised by the article, and thus began her admiration for Maggie and her passion for painting.

Petrie completed High School with excellent results, merits and awards; and went on to study further. During this tertiary period, Anne made two trips to Europe and toured leading galleries. She was so eager to learn, that at the end of her visits she had taken down some 2,300 pages of handwritten notes.

On her return to South Africa, she began painting her first oils, and with tuition soon began to lay the foundation of her own, distinctive style. However, Petrie felt that the taste of the small art-public was extremely backward at the time, and that there were too few discerning collectors and buyers in South Africa.

In 1954, she spent a short period of time sitting in on lectures at the Kunstakedemie van Mechelen, Sint Niklaas and Antwerp, where she met artist Jan Vermeiren. He assisted her in mastering acrylic and pastels.

During her many travels, many important people sat for portraits for her, and she was well paid. She used these funds for further visits to galleries, and art classes at the Byam Shaw Goldsmith’s School of Art in London and at Sickert’s Royal Academy School in Camden Town. Here she befriended Cecil Higgs.

At the same time Petrie met Mary (May) Ellen Hillhouse, who had a common Scottish heritage. Together they consulted on what they both declared was “soul-destroying commercial work”. Petrie then became an illustrator for various local and foreign companies, and excelled in graphics for pottery and pattern design.

She also made occasional visits to the “Platteland” farm of Maggie Loubser’s father in Klipheuwel, near Malmesbury. Later, inspired by the vision Maggie had acquired during her trip to London, Petrie also spent time in Germany where she became familiar the works of Marc and Nolde.

In 1955, upon meeting Marjorie Wallace and her husband Jan Rabie, Petrie’s lifelong interest in humanitarian causes in South Africa was cemented, after a heated debate. In 1960, Petrie was infuriated by the countrywide protests, demonstrations and strikes against the so-called Pass Laws and police brutality.

In 1967, Mr. Albert Wert (Then Curator of the Pretoria Art Museum) together with Matthys Bokhorst (Director of the South African National Gallery) asked Petire to participate in the SANLAM Art Collection Exhibition, which contained in excess of 166 works of art. She declined to participate as the collection “did not possess that degree of inner unity it would have had if the collection had from the beginning been built up for the purpose of exhibition”.

Petrie did however exhibit in South Africa twice in 1967, the most important exhibition from 30th October till 11th November at the South African Association of Artists (SASA) Annual Exhibition at 63 Burg Street, Cape Town. A leading Art Critic of the day, Johan van Rooyen stated that her 3 works, entitled Indian Girl, Bantu Boy and Late Afternoon, Kommetjie “should be hailed as proving the standard that is expected at an exhibition of this calibre”, which included works by fellow artists I.Roworth, S.Butler, V.Volschenk and L. Mears.

In 1971, Anne once again declined an invitation this time from Gunther van der Reis to participate in the “1971 Republic Festival Exhibition” which was organised by the S.A. Association of Artists. She decided to exhibit in Tel-Aviv that year instead.

Petrie’s works were exhibited in the late 60’s early 70’s at various galleries in South Africa, where she obtained critical acclaim. At some point, Petrie decided that she would no longer exhibit or sell her work, as she felt the art industry favoured predominantly male, Afrikaans artists as opposed to English-speaking females.

Petrie felt that nations and art were becoming more and more involved, interactive, and demanded greater effort from the viewer. During the 1970’s 80’s and 1990’s Anne never tried to idealise her subjects. She always strove for the accurate representation of everyday, apparently casual or overlooked subjects or the “invisible people of South Africa” as she called them.                                                                                                                     
Petrie eventually settled in the Cape, where she found respite from her alleged mental instability. At the end of her life, Anne had amongst her close friends and fellow artists, mainly local Cape Coloured and Malay inhabitants. She passed away, while living at her parents “Summer House” in Fish Hoek.