Krupp in the Villa Hügel: photographs from two centuries

Mighty production facilities, sturdy workers, red-hot steel – since June 18, 2011, the Villa Hügel in Essen exhibits photographs of the local steel dynasty Krupp, taken in the last two centuries. This exhibition in the former Krupp residence with the panoramic view on the Ruhr valley marks the first art show with a genuine connection to the location per se.



1811, 200 years ago, Friedrich Krupp established his cast steel factory in Essen. Within two decades, his son Alfred Krupp turned it into the biggest steel production facility in Europe. The number of „Kruppians“ in Essen increased from 18.000 (1887) to 40.000 (1913) over the time. 1918, 150.000 people were employed by Krupp. More than 60 per cent of Essen’s population lived off and with the factory. The two world wars turned the Krupp plants into the leading armoury of the German Empire.

More than 400 photos and objects reflect the company and family history, shedding some light on industrial upswing and world affairs. For the first time, originals from the photo collection of the historical Krupp archive (which consists of more than 2 million photographs) are exhibited.

Pioneering spirit, pictorial icons, and unerring public relations 

Alfred Krupp was not only a successful entrepreneur, but also a pioneer on the field of photography. He was among the first people to recognise the value and advantage of that new technology and used it consequently: for documentation, public relations, and scientific research. 1861, he established a „Photographic Institution“ – 1915, the staff consisted of 500 people. The Krupp company photographers took photos of products and machinery, workers and factories, visits and festive events.



And they also aestheticised work processes very artfully. They focused on heavy hammers and mighty forging presses, or were inspired by glowing metal and huge work pieces. Panoramic and aerial photos caught the dimensions of the factory premises: there is an 8 metres long 360° panorama of the cast steel plant which was taken in 1867, for example. The photographs were meant to convey the impression of magnitude, importance and economical power. Apart from that, they were used for internal documentation, but also especially as material for image folders, company papers, and business reports.

Burly men, deft women, bright apprentices 

Until today, the term "Kruppian“ is used for a company family providing, home, security and identity. From the beginning, there were photographs on which workers proudly present their tools and their work, with the focus on burly men, deft women, and brightly looking apprentices epitomising the Krupp myth.
The photographs picked out the common bond of company owner and worker as a central theme, the bond between „top“ and „bottom“, of old and young. Large quantities of them were printed and spread, raising awareness for the fact the being a Kruppian was being a part of a bigger, committed, and Burly men, deft women, bright apprentices special community.

Family pictures: representation and snapshot

The powerful photos of the steel dynasty are complemented by more private ones, like Alfred Krupp in a frock coat or in a group of crowned heads, or Bertha, the most eligible heiress in the German empire, in a luxurious evening dress, or Alfried Krupp during a trip. In the photo studio, nothing was accidental – the photographs were not taken for their own sake, they were a necessity.



They represented the company and the family of the entrepreneur, also in form of presents to business friends or relatives. And they catered to the media interest, were printed in magazines and on postcards.

The exhibition also offers a counter-concept to the official picture language: private snapshots from the family albums show the children growing up, sports or holiday events.
The Krupp company photos should convey power, happiness, and harmony, but not the conflicts and dark sides of the worker’s routine, strikes, or the private life of the employees. Thus, these subjects are not included in this exhibition which nevertheless offers an insight into the PR apparatus Krupp, the power of pictures, and how early the company utilised this power.




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