55:, capturing a group of them who were standing in the large floor, under the central dome. Unlike others of his photographs this one was carefully staged. The large scale photograph shows the immensity of the space where it was taken, and also its majesty and classical beauty. The human presence of the tourists there seems dwarfed but at the same time they play an essential role in it as spectators. Struth assumed in this photograph a dialogue between past and present, in a painterly quality that doesn't appear in other photographs of the same series, recalling in particular the work of
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Struth seems to have achieved in this case faithfully his purpose to "retrieve masterpieces from the fate of fame, to recover them from their status… to remind us that these were works which were created in a contemporary moment, by artists who had everyday lives."
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Three prints of this photograph are amongst those who have reached the highest prices for the author in the art market. On 12 November 2007, a print sold at
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that he dedicated to museums and their visitors all over the world. It had a series of ten prints of large format, like most of his photographs.
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166:"The Hyperrealistic World of Thomas Struth, The Architectural Digest, 30 September 2014"
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for $ 1.049.000. On 26 June 2013, another version, from 1992, sold for $ 1.253.208 at
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Christie's, Post-War and
Contemporary Art Evening Sale, 13 November 2007, New York.
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This article is about the photograph by Thomas Struth. For other uses, see
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Annette
Kruszynski, Tobia Bezzola, and James Lingwood, eds.,
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223:"The most expensive photographs sold at auction: part 3"
209:"The most expensive photographs sold at auction: part 2"
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Photographs in the Museum of Modern Art (New York City)
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100:There are prints of this photograph at the
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47:Struth took aim to the visitors of the
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180:Thomas Struth: Photographs 1978-2010
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353:Mailänder Dom (Fassade), Mailand
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67:Art market
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114:New York
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372:Related
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