Created in 1928, Métal by Germaine Krull reinterprets industrial forms through photography. This series captures the monumental structures of the industrial age—cranes, bridges, power plants, and the Eiffel Tower—through bold perspectives that transform these utilitarian forms into expressions of modernist art. Situated in the post-World War I era, the project reflects the cultural fascination with technological progress while also probing its impact on human environments.
Through her lens, Krull explored the intricate geometries and monumental scales of industrial architecture. She employed a portable Icarette camera, enabling her to experiment with unconventional angles, extreme close-ups, and layered compositions. Her methodology emphasized contrasts between light and shadow, creating dynamic abstractions that blur the boundaries between realism and formalism. Krull’s approach aligned with the Neue Sehen (New Vision) movement, which advocated for a redefinition of photography as a tool for documenting modern life while embracing artistic innovation.
The Métal project was not merely an artistic exercise but also a commentary on the profound changes occurring in the industrial age. It presented a nuanced perspective, celebrating the marvels of engineering while subtly questioning the dehumanizing aspects of mechanization.
Issued in 1928 as a portfolio of sixty-four collotypes with a text by Florent Fels, Métal was quickly taken up in avant-garde circles and featured in the touring Film und Foto exhibition (1929–30). Later surveys—such as Germaine Krull: A Photographer’s Journey (Jeu de Paume; Martin-Gropius-Bau, 2015–16) and Germaine Krull. Métal (Pinakothek der Moderne, 2017–18)—sustained its visibility, with institutions including MoMA, the J. Paul Getty Museum, and Museum Folkwang holding examples.
