Germaine Krull first studies photography in Munich before opening a studio in Berlin, in 1919. It is during the early 1920s that she focuses on architecture photography while she collaborates with Colette, Jean Cocteau, Man Ray or Berenice Abbott. She also works for publicity, portraiture - illustrating Paris’s cultural personalities and erotic underground characters - and even fashion when she shoots Sonia Delaunay’s creations. Eager to inform, Germaine Krull despises artistic and conceptual aesthetics and prefers to ‘be the witness of everyday life’, capturing the accelerated changes of her times. And yet, to do so, quite ironically, she never hesitates to experiment with such techniques as the double exposures Roland Barthes detested so - ‘contortions of technique: superimpressions, anamorphoses, deliberate exploitation of certain defects (blurring, deceptive perspectives, trick framing).’ Germaine Krull uses these approaches to better produce metaphors for the exhilarating urban life of the 1920s and 1930s. Nonetheless, for her contribution to the nude genre, she preferred to explore the body’s pure physicality with the use of dramatic lights and radical angles, leaving aside her modernist experimentations making critics affirm: ‘she never cheats’.