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Germaine krull
- 2. Best-known for her role in the avant-garde's from 1920 to 1940, and a pioneer of modern photojournalism. She was the first to publish in book form as an end in itself. In the 1920s Man Ray said to photographer Germaine Krull, “Germaine, you and I are the greatest photographers of our time; I in the old sense, you in the modern one.” Yet despite this early recognition of her work, Krull has not received the critical attention that her associates attracted.
- 3. Biography • Born in Wilda-Poznań, East Prussia, in 1897, she had a nomadic childhood. • Was homeschooled by her father who was liberal. • This nomadic lifestyle and unconventional upbringing laid the foundations for her colourful adult life. • After studying photography in Munich, Krull became involved in the political upheavals of post-war Germany in 1919, her role in the communist movement leading to a close shave with the Bolsheviks in Moscow. • Krull was the first artist of her generation to publish single author publications of her photographs such as Metal (1928), 100 x Paris (1929).
- 4. • She also held a prominent position on the photography magazine VU which was founded in 1928(1928-1933). • She produced reportage for many other magazines, such as Jazz, Variétés, Art et Médecine and L’Art vivant. • Most importantly, and unlike any other photographer of her generation, she published a number of books and portfolios as sole author: Métal (1928), 100 x Paris (1929), Études de nu (1930), Le Valois (1930), La Route Paris-Biarritz (1931), Marseille (1935). These various publications represent a total of some five hundred photographs. • During the Second World War, she joined the Free French (1941) and served the cause with her camera. • Shortly afterwards she left Europe for Southeast Asia, becoming director of the Oriental Hotel in Bangkok, and then moving on to India where, having converted to Buddhism, she served the community of Tibetan exiles near Dehra-Dun.
- 5. Self Portrait with Icarette around 1925 Gelatin silver print 23.6 x 17.5 cm • Using a small format Icarette camera enabled Krull to take more intimate and engaged photographs of her subjects. • She captured the elements of modern life with her unconventional style and offered a unique interpretation of the vast range of subjects she chose to depicts. • Modernist photojournalist.
- 6. Self Portrait, Paris 1927 Gelatin silver print 23.9 x 17.9 cm Left-wing convictions, The love of cars and road trips, The fascination with hands and maverick spirit that drove her work and kept her outside schools and sects.
- 7. Krull describes her 1928 book Metal as depicting "the essentially masculine subject of the industrial landscape." MĂ©tal Cover of the photogravure portfolio MĂ©tal (set of 64 plates) 1928 30 x 23.5 cm
- 8. Bridge crane, Rotterdam about 1926 from the series MĂ©tal Gelatin Silver Print 21.9 x 15.3 cm Marseille June 1930 Gelatin Silver Print 21.2 x 15.3 cm
- 9. Rue Auber in Paris about 1928 Gelatin Silver Print
- 10. Étude pour La Folle d’Itteville [Study for The Madwoman of Itteville] 1931 Gelatin Silver Print 21.9 x 16.4 cm Jean Cocteau 1929 Gelatin Silver Print 1976 23.7 x 17.2 cm
- 11. Etude de mains, 1929 Silver gelatin print
- 12. Gibbs Advertising January 18, 1930 36.7 x 27.8 cm Étude pour La Folle d’Itteville [Study for The Madwoman of Itteville] 1931 Gelatin Silver Print 21.9 x 16.4 cm
- 13. Nude Not dated Gelatin Silver Print
- 14. Étalage: les mannequins [Display: mannequins] 1928 Gelatin Silver Print 10.8 x 15.7 cm Mannequins in a shop window 1930 Gelatin Silver Print 13.7 x 23.5 cm
- 15. Tibetan religious ceremony offering of the white scarf Undated Gelatin silver print 24.1 x 18.5 cm