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Mailänder Dom (Fassade), Mailand

About the item

Chromogenic print, Diasec-mounted, framed, the photographer's label, signed in ink and with typed title, date, and edition number, on the reverse, 1998, no. 7 in an edition of 10\nEdition 2 of 10\nMy own work is about different situations in which people find themselves. About streets as public space, where specific and collective attitudes affect us every day, where architecture represents society and culture as the dynamic of the group. . . .  About people visiting a historic monument as mass - tourists and yet as unique persons (Thomas Struth, Artists Statement, Carnegie International 1991, Carnegie Museum of Art, 1991, vol. 1, p. 126). \nMailänder Dom (Fassade), Mailand (Milan Cathedral Façade, Milan) is an unequivocal masterpiece from Thomas Struth's seminal Place of Worship series and a culmination of the most salient elements of the photographers previous photographs.  Struths notable past efforts included his early black-and-white images of barren street scenes in Europe and New York in the 1970s and 1980s, which were heavily influenced by his studies with Bernd and Hilla Becher at the Kunstakademie Düsseldorf (see Lot 1).  In his subsequent Museum Photographs series (1989-1990), Struth trained his camera on anonymous gallery visitors and began an in-depth exploration of the complex interconnection between art, the artist, and the voyeur.  While working on Museum Photographs, the German-born Catholic Struth lived in Italy and experienced firsthand the strong connection between painting and religion.\nIn ruins or splendor, the architecture of religious sites was not only a key component of Old Master painting but also of immediate interest to photographers upon the mediums invention. The composition of Struths 20th century Mailänder Dom (Fassade), Mailand (Milan Cathedral Façade, Milan) evokes Louis-Auguste Bisson and Auguste-Rosalie Bissons 19th century view of Cathedral of Notre Dame, Paris (circa 1853) (cf. Fig. 1).  Both photographs share a frontal, imposing, and somewhat claustrophobic composition that triumphs the old and minimizes modernity.\nUnlike the Bisson Frèress figureless architectural study, Struths depiction of the Milan Cathedral is teeming with life, from the people seated on the stairs to the man on his cell phone to the tourist photographing the façade.  Struth illustrates everyday life in the shadows of the cathedral just as the Milanese painter Carlo Canella had done a century prior (cf. Fig. 2).  Like other artists working in the capriccio, or architectural fantasy tradition of landscape painting, Canella and Struth show the cathedral as a backdrop for a lively, spirited city life.  Through Struths lens, however, the Milan Cathedral is no mere backdrop.  The massive marble façade looming over the crowd and possessing three-fourths of the picture plane becomes a key character in this photograph, a witness to nearly seven centuries of history juxtaposed with the present.\nStruths monumental, commanding color photographs from this period are now his recognizable calling card.  With Mailänder Dom, Struth became a leading figure of a new form of photography, one that could realistically claim to take the baton from historical painting by confronting antiquated modes of expression and depicting cityscapes with a rigorous, modern aesthetic.\nPrints of this image have been featured in nearly every major exhibition and publication on Struths work to date.  The Metropolitan Museum of Art, New York, one of the great repositories of Struths photographs, acquired a print of this image in 2000, and celebrated this image in advertisements for the photographers recent 2014-15 retrospective.


Face-mounted color coupler print


Struth, Thomas


This chromogenic print is in generally excellent condition. The colors remain vibrant and strong with no apparent fading. Scattered deposits of original retouching are visible upon close inspection. The following are barely visible and only under high raking light: tiny scratches on the Diasec and minor soiling at the center. None of the aforementioned detracts in any way from the overall fine appearance of the print. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.


72 1/4  by 90 3/8  in. (183.4 by 229.6 cm.)


My Portrait - Thomas Struth (Tokyo: The National Museum of Modern Art, 2000), p. 129 Douglas Eklund, Ann Goldstein, Maria Morris Hambourg, and Charles Wylie, Thomas Struth 1977-2002 (Dallas Museum of Art, 2002), p. 93 Hans Belting, Walter Grasskamp, and Claudia Seidel, Museum Photographs: Thomas Struth (Munich, 2005), p. 73 Thomas Struth (Museum of Contemporary Art Donnaregina of Naples, 2008), pp. 34-5 and 37 Anette Kruszynski, Tobia Bezzola, and James Lingwood, eds., Thomas Struth: Photographs 1978-2010 (New York, 2010), p. 88


Marian Goodman Gallery, New York, 1999


Edition 2 of 10






From Generation to Generation: Important Photographs from the Ames Collection


B. 1954

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


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