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Le port. Les quais de déchargement des marchandises, Douala, Cameroun [The port: The wharves for unloading goods, Douala, ­Cameroon], 1943 Gelatin silver print, 12.2 × 18.7 cm · ­Museum ­Folkwang, Essen

Germaine Krull left Vichy France in 1941 to join the Résistance operating in exile under Charles de Gaulle. In Brazzaville, the capital of Free France or France libre, she took over the newly established photography service. These photographs take “propagande par l’image” into account to depict everything that was potentially militarily relevant. In the territories of the present-day states of Gabon, Republic of Congo, Central African Republic, Chad, and Cameroon, which had joined France libre, by the end of 1943 Germaine Krull had documented agricultural production processes, the extraction of valuable raw materials and of mineral resources, but also pointed her camera at landscapes, people, folklore, and everyday culture. Within this spectrum, the harbor views from Douala are unique. The compositions of cranes and ship masts, which divide the sky into geometric forms and fields, or the ornamental structures of countless barrels standing on the ground, lead our eyes back to Europe. Here, Krull had once ­photographed the harbors with their gigantic ship-loading edifices and iron bridges, in Rotterdam and in Marseilles in southern France. KM

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Costumes de danse Bamiliké, des danseurs de la cheferie la plus importante du pays Bamiliké, Bandjoun, Cameroun [Bamileke dance costumes belonging to the dancers from the country’s most important tribe Bamileke-Bandjoun, Cameroon], 1943 Gelatin silver print, 18 × 12.6 cm · Museum ­Folkwang, Essen

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Kamerun [Cameroon], 1943 Gelatin silver print, 22.9 × 19 cm · Museum ­Folkwang, Essen

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Lewis Cole, c. 1930 Gelatin silver print, 23.7 × 17.4 cm · Museum ­Folkwang, Essen

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Lewis Cole, c. 1930/55 Gelatin silver print, 23.4 × 17.4 cm · Museum ­Folkwang, Essen

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Untitled (Blackbirds, Lewis Cole), c. 1930/95 Gelatin silver print, 23.8 × 17.2 cm · Museum ­Folkwang, Essen

The arrival of the African-American ensemble caused quite a stir in Paris in the summer of 1929. Surrealist magazines like Variétés and Documents were very interested in these ambassadors of

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Neolithic Childhood. Art in a False Present, c. 1930 | Manual  

Fri, Apr 13–Mon, Jul 9 2018 www.hkw.de/en/1930

Neolithic Childhood. Art in a False Present, c. 1930 | Manual  

Fri, Apr 13–Mon, Jul 9 2018 www.hkw.de/en/1930

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