{"id":2497,"date":"2021-06-11T10:11:44","date_gmt":"2021-06-11T08:11:44","guid":{"rendered":"https:\/\/www.lostwomenart.de\/?post_type=artist&p=2497"},"modified":"2021-06-11T10:13:46","modified_gmt":"2021-06-11T08:13:46","slug":"germaine-krull","status":"publish","type":"artist","link":"https:\/\/www.lostwomenart.de\/en\/artist\/germaine-krull\/","title":{"rendered":"Germaine Krull"},"content":{"rendered":"\t
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1897\u20131985 \/ German-Dutch photographer<\/h6>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/section>\n\n
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\u201cPhotography is being able to see. With a single click, the lens captures the world on the outside and the photographer on the inside.\u201d<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tGermaine Krull\t\t\t\t\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/figure>\n<\/section>\n\n\t
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Dance of metals<\/h5>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n
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In 1928 a small portfolio of photographs entitled \u201cM\u00e9tal\u201d was published in France consisting of 64 photographs featuring iron constructions, cranes, bridges, machines, and the Eiffel Tower using unusual perspectives and cropping techniques. When viewed in sequence, the individual photographs combine to form a kind of cinematic \u201cdance of naked metals,\u201d transforming the gigantic metal constructions into monuments to a modern era. At a time when the adoration of technology had taken on almost religious proportions, the French press celebrated the photobook as the photographic embodiment of the \u201cesprit moderne\u201d. It was this publication that most likely prompted Walter Benjamin to mention Germaine Krull in his essay \u201cA Short History of Photography\u201d (1931) in the same breath as prominent photographers August Sander and Karl Blossfeldt \u2013 and thus immortalize her in art history, at least as a footnote.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t<\/div>\n<\/section>\n\n

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\u201cHer most famous work is an absolutely iconic example of radical modernist photography. She utilizes elements of the Soviet school: sharp angles, views from above, from below, abstractions\u2026 It is a celebration of industry, speed and dynamism, born of a kind of futuristic tradition.\u201d<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tFrances Morris, Director of Tate Modern, London\t\t\t\t\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/figure>\n<\/section>\n\n
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