Louvre 1, Paris, 1989

“We often speak of imaginary places, places that only exist in our minds. Struth’s photographs, by contrast, are mirrors of a different sort. They hold up to us, as we look at them, a mirror in which other people are looking at paintings. While we ourselves are gazing at a photo, just as the other gaze at a painting, an analogy is drawn between media…” Hans Belting, Thomas Struth Museum Photographs

Thomas Struth’s series of museum photographs are celebrated for their ability to transform everyday moments into profound visual narratives. Louvre 1, Paris, 1989, is no exception. By offering a thoughtful commentary on the role of museums as places for public consumption, engagement, and contemplation, Struth invites viewers to consider their own relationships with these spaces. His work captures the dynamic interaction between viewers and artworks, emphasizing the museum as a living space where history and contemporary life converge.

Louvre 1, Paris, 1989 is a part of Struth’s acclaimed series of large-scale museum photographs. This chromogenic print, measuring 72 by 91 inches, presents a grand tableau of museum-goers as they engage with the iconic artworks housed within the Louvre. The photograph is a masterful composition that juxtaposes the timelessness of the art with the transient presence of the viewers, creating a dialogue between the past and the present. Struth’s precise use of perspective and scale emphasizes the architectural grandeur of the museum, while also capturing the varied reactions and interactions of the visitors.

At the time Struth created this series, the art world was undergoing significant changes. The late 1980s and early 1990s saw a renewed interest in the role of museums and galleries as spaces for public engagement and education. Struth’s work during this period reflects the broader cultural moment, aligning with the aim to understand the significance of historical art and its relevance to contemporary life.

As such, Struth spent considerable time in museums, such as the Louvre, observing the interactions between visitors and the artworks. His photo series capture not just the grandeur of the museum’s architecture and works, but also the diverse ways in which people engage with art. ‘The museums were almost always crowded, and this led me to wonder what people were looking for in front of these historic paintings. For me the museum is a place to sharpen my tools, my perception, to delve into history. What can you valuably take from pictures from the past, which might be a catalyst for interesting or productive ideas for the future?’ This introspective approach is evident in Louvre 1, Paris, where the presence of the crowd and their engagement with the works are central to the composition.

The image is notable for its detailed rendering and the depth of field that Struth achieves, drawing the viewer into the scene as though they are part of the crowd. The photograph’s large scale further enhances the viewer’s immersive experience, allowing one to appreciate the intricate details of the artworks on display and the individuals present within the space. Struth captures the subtleties of light and shadow within the museum setting, adding a layer of complexity and richness to the composition.