Thomas Struth, ‘Pflanzen, Nr. 22, 35, 67 and 70’, 1992-93, Sotheby's

From Generation to Generation: Important Photographs from the Ames Collection

Each framed, the photographer's label, signed in pencil and with typed title, date, and edition number, 2 with a Galerie Max Hetzler label and 2 with a Marian Goodman Gallery label on the reverse, each from an edition of 10 (4).

Each approximately 22 3/4 by 15 1/8 in. (57.8 by 38.4 cm.)

Dieter Schwarz, Thomas Struth, Dandelion Room (New York/Munich, 2001), unpaginated

Marian Goodman Gallery, New York, 2003: Rote Gladiolen - No. 22, Winterthur, 1992 and Alte Sonnenblumen - No. 67, Winterthur, 1992
Galerie Max Hetzler, Berlin, 2005: Hängende Kirschzweige - Nr. 70, Düsseldorf, 1993 and Kirschblüten mit grünen Blättern - Nr. 35, Düsseldorf, 1993

About Thomas Struth

Thomas Struth takes mesmerizing photographs that express his belief in photography as “a tool of scientific origin for psychological exploration.” He began taking pictures in 1976, influenced by his studies with three of the most important contemporary German artists of the time—painter and mixed media artist Gerhard Richter and photographers Bernd and Hilla Becher. After his early black-and-white series of deadpan views of cityscapes eerily devoid of any signs of urban life, in 1989, Struth began work on his best-known cycle, the “Museum Photographs.” In these large-format, color-saturated photographs, Struth captures individuals and crowds looking at famous works of Western art in the world’s most popular museums. While looking at the “Museum Photographs,” viewers are confronted with the act of looking itself and the social complexities of seeing and being seen.

German, b. 1954, Geldern, Germany, based in Düsseldorf, Germany