![]() ![]() Occupying the Ludwig’s largest exhibition space, the show will be a major celebration in Cologne, the city that Ursula called home for decades. So What?”) from the title of her last self-portrait, from 1995. Running through July 23, it takes its name (“Ursula - That’s Me. On March 18, the Ludwig will try to remedy that as the TEFAF Maastricht fair winds down in the Netherlands, across the border in Cologne, Germany, the museum will open the first Ursula retrospective in three decades. Today, “most of the younger generation don’t even know her name,” Stephan Diederich, the curator of the collection of 20th-century art at the Museum Ludwig said by phone. But after her death in 1999, at 77, “museum exhibitions did not materialize,” Renate Goldmann, the director of the Van Ham Art Estate, wrote in an email. Schultze-Bluhm, who went by just Ursula in her professional life, participated in big shows, like the quinquennial Documenta in Kassel, Germany, along with art giants like Andy Warhol. “The more fantastic, the more real they are,” she once said of her work. Monstrous faces float across a black expanse in “Nightmares” (1961), while “The Unicorn” (1983) has the mythical animal growing from the thigh of a strange, humanoid entity. Her sinuous, wildly colored compositions, which she built with patterns of dots and lines, suggest deep-space marvels or activity under a microscope, with mysterious beings that dance, fly and metamorphose. One critic proposed that she “would not have been allowed to paint in the Middle Ages” and “would have been burned.” ![]() For a half-century, the German artist Ursula Schultze-Bluhm made work that could astonish viewers. ![]()
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