.jpg?w=1)
拍品专文
In the perspective of the new world, here are some fixed elements of beautiful photographs, representative of a new romanticism…
Germaine Krull, excerpt from Métal
'Krull worked in Berlin, Russia, Holland and Paris during the 1920s, all primary centres of European Modernism. Her greatest success came with the publication of the sumptuous Métal , by the Librairie des Arts Decoratifs. Compared to the classical, somewhat static studies of Charles Sheeler or Albert Renger-Patzsch, Krull’s views of industrial structures in Holland and Paris—including as a leitmotif that icon of modern engineering, the Eiffel Tower—seem more fluid and poetic, much more ‘modern’, reproducing the jagged angles of New Vision photography and the fractured spaces of the Futurists.
Krull’s vision is also determinedly cinematic, for although the sheets are loosely laid in the portfolio, they are numbered, and the sequence is important. Krull worked closely with her husband, the Dutch avant-garde film-maker Joris Ivens, and Métal is closely related to his film De Brug (The Bridge), which, like the portfolio, was first shown in 1928 (although some copies of Krull’s work may have been released prior to the date given inside the book). She helped in the film’s making and took some of the Métal images while on location. However in her dramatic, vertiginous close-ups, angled vision and radical us of the frame edge, Krull goes further than Ivens in symbolizing the forward-looking, progressive thrust of modern engineering. Métal is several steps ahead of the her nude portfolio, and sealed her international reputation as a leading modernist. Along with Moi Ver’s Paris, it is surely the finest example of a modernist photobook in the dynamic, cinematographic mode.'
Martin Parr and Gerry Badger, The Photobook: A History, Volume 1.
Germaine Krull, excerpt from Métal
'Krull worked in Berlin, Russia, Holland and Paris during the 1920s, all primary centres of European Modernism. Her greatest success came with the publication of the sumptuous Métal , by the Librairie des Arts Decoratifs. Compared to the classical, somewhat static studies of Charles Sheeler or Albert Renger-Patzsch, Krull’s views of industrial structures in Holland and Paris—including as a leitmotif that icon of modern engineering, the Eiffel Tower—seem more fluid and poetic, much more ‘modern’, reproducing the jagged angles of New Vision photography and the fractured spaces of the Futurists.
Krull’s vision is also determinedly cinematic, for although the sheets are loosely laid in the portfolio, they are numbered, and the sequence is important. Krull worked closely with her husband, the Dutch avant-garde film-maker Joris Ivens, and Métal is closely related to his film De Brug (The Bridge), which, like the portfolio, was first shown in 1928 (although some copies of Krull’s work may have been released prior to the date given inside the book). She helped in the film’s making and took some of the Métal images while on location. However in her dramatic, vertiginous close-ups, angled vision and radical us of the frame edge, Krull goes further than Ivens in symbolizing the forward-looking, progressive thrust of modern engineering. Métal is several steps ahead of the her nude portfolio, and sealed her international reputation as a leading modernist. Along with Moi Ver’s Paris, it is surely the finest example of a modernist photobook in the dynamic, cinematographic mode.'
Martin Parr and Gerry Badger, The Photobook: A History, Volume 1.