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  • Provenance

    Marian Goodman Gallery, New York
    Acquired directly from the above by the present owner in 2000

  • Exhibited

    Houston, Museum of Fine Arts, Contemporary Art and Photography: Spotlight on the Collection of the Museum of Fine Arts, Houston, September 30, 2001 - February 3, 2002 (another example exhibited)
    Houston, Museum of Fine Arts, Acquisitions of the Last Five Years: Selections of Modern and Contemporary Art, July 15 - October 15, 2005 (another example exhibited)
    Houston, Museum of Fine Arts, Ruptures and Continuities: Photography Made after 1960 from the MFAH Collection, February 21 - May 9, 2010 (another example exhibited)
    Zurich, Kunsthaus Zurich; Kunstsammlung Nordrhein-Westfalen; Museu de Arte Contemporãnea Fundação de Serralves, Thomas Struth: Photographs 1978 - 2010, June 11, 2011 - February 26, 2012) (another example exhibited), pp. 90, 204 (illustrated)

    Other examples from this edition are held in the permanent collections of the Museum of Fine Arts, Houston and of the Modern Art Museum of Forth Worth, Fort Worth.

  • Literature

    Anette Kruszynski, Tobia Bezzola and James Lingwood (ed.s), THOMAS STRUTH: Photographs 1978-2010, Munich: Schirmer/Mosel, 2010, cat. no. 7481, p. 90, 205 (illustrated)

  • Catalogue Essay

    "I hope that the photographs possess a symbolic power that the viewer can connect with. That they have a symbolic power is very important to me, even if it is often a quiet one." Thomas Struth

    Dedicated disciple and international star of the celebrated Dusseldorf School, Thomas Struth first captured people’s attention with the well-known cycle of Museum Photographs, exhibited internationally to much critical acclaim. Struth’s medium format photography lies in a deep-rooted tradition of conceptualism, but his approach to it combines a humanitarian expression of the viewer engaging with subjects. His work often depicts people visiting museums, churches and cultural institutions, and as such, explores the relationship between those works of art and the public, which comfortably circulates throughout those inhabited spaces – spaces that not only tell the story of time, but manifest the present within the photograph. Depicting the Daibutsuden, or Great Buddha Hall of the Todai-Ji temple in Nara, Japan, Todai-Ji Interior, Nara, 1999, is a superb example of Struth’s ability to cleverly compress time, space and spirituality in his photographs. The massive scale of the print imbues it with the monumental air of the Daibutsuden itself, housing the largest bronze Buddha statue in the world. The result is a composition that softens the lines dividing past from present and subject from object. As the faithful in the Daibutsuden become objects of study under Struth’s lens, viewers of the photograph inadvertently echo the composition, becoming unwitting participants in the seemingly endless nature of the work. Todai-Ji Interior, Nara superbly manifests many of the conceptual and practical concerns Struth has grappled with throughout his celebrated career and does so in a fashion both revelatory and exclamatory.

  • Artist Biography

    Thomas Struth

    Thomas Struth is a German photographer best known for his large-scale, classically composed photos of museum, cityscapes, and family portraits. Struth is a prominent member of the Düsseldorf School of Photography, the group of artists who studied at the Kunstakademie Düsseldorf in the mid-1970s under influential photographers Bernd and Hilla Becher. Struth’s highly centralized, balanced photos incorporate cutting-edge photographic techniques and the tenets of classical composition to develop the documentarian aims of the Bechers.

    Struth’s work has been widely celebrated by the international art community. He represented Germany at the 44th Venice Biennale in 1990 and has been the subject of major retrospectives including those at the Dallas Museum of Art, the Metropolitan Museum of Art, New York, and the Haus der Kunst, Munich. He lives and works in Berlin and New York.

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Todai-Ji Interior, Nara

chromogenic print
72 x 96 in. (182.9 x 243.8 cm)
Signed "Th. Struth" on a label affixed to the reverse of the backing board; further number "4/10" on the reverse of the backing board. This work is number 4 from an edition of 10.

$120,000 - 180,000 

Sold for $110,000

Contact Specialist
Rebekah Bowling
Head of Sale
New York
+ 1 212 940 1250

New Now Evening Sale

New York Auction 29 February 2016 6pm