The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-03-29
THE INTENT" IN BOHM'S PICTURES

'"The ARTISTS intention Is the prin-
cipal thing in work of art. 1t is able
or weak in proportion as he expresses
his intention. Years are the test Of
picture, for. if a man has put much
thought into his work, 1t does not all
come out in the first inspection" Such
is the opinion of Max Bohm, drawn out by
his friends and by art Students who have
eagerly awaited themselves Of every op-
portunity to become acquainted with his
art ideas.
To the artists and ccnnoisseurs he is
known as a man of great strength force
OF character and individuality. He came
to Minneapolis directly from associations
In Europe ON an equal footing with. the
leading artists of the day. AS his art is
strongly marked by its intellectual quail
tty rather than the sensuous it is par
ticularly important In studying it to con-
slider both Of the propositions mentioned
above.
In all Of Mr.. Bohm's pictures he had an
idea to express, and as he takes his art
very seriously it is certain to be a big
ONO worthy of his art and Of the study
Of all those who look at the picture. AS
he seeks to put into the presenting of the
idea all the wealth Of his art it will be
understood why time is a necessary fac
tor In the full appreciation Of his pic
lures. The kernel may be expressed in
a single thought, as book may be
summed up in sentence, but the pic
tortal idea may be expanded in intri
cate a manner as the theme Of a sonata
or an epic.
In addition to having enjoyed the tech
nical training Of the most celebrated
schools abroad, Mr.. Bohm has pursued
steadfastly a plan of study that has been
ever recognized as indispensable to COM
plete mastery Of art. He has studied the
works Of the greatest masters Of all time
by living with them in the closest pos
sible way. At one time he spent every
day for seven months studying the pic
lures in the Louvre during every hour
of daylight. What he sought from the
pictures was the reply to two questions:
What did the painter want to say?" and
How did he say it?" and there are prob
ably few American painters who could
answer those questions so we'll to-day in
regard to any picture old or new. It was
THIS KIND OF study, as we'll as books and
MS own experiments, with pencil and
brush that has given Mr.. Bohm such a.
sure grasp upon art PRINCIPLES and their
use In expressing the painters idea
IN Paris Mr.. Bohm spent six years in
this kind of study, in Holland two. and
sui Iurther time in Italy and GERMANY
IN h1s temporary Minneapolis studio. he
mas a most interesting series Of quick
color sketches OF Italian wall paintings
ID which is shown their composition, ar
ransement OF masses and color notes. in
other words their vital charact eristics.
1t Is very interesting to seek the nm
swers In Mr.. Bohm's pictures to the
questions that he has asked Of others and
by which OF course he measures his work
for himself. AS several of his pictures
are quite familiar from having been ex-
hlb1ted in the special exhibition recently.
these may be taken to illustrate the idea
and method of his art. Strongest in To-
cal interest were his portraits, both be-
cause all of the subjects Were known to
certain groups and because Minneapolis
mas had less opportunity of seeing por-
traits by modern men Of strong ideas. or
these the portrait of John Lind, former
governor OF Minnesota, attracted the most
attention. 1t is shown in an accompany
ing Illustration and is typical of Mr.
Bohm's methods In portraiture.
AS revelation of character is the pur-
pose OF a portrait, Mr.. Bohm would make
every portion of the picture contribute to
that idea. In order that dignity, rugged
strength, determination and nobility
might be expressed without any belittling
distractions Of mere prettiness, the pic
ture is kept very simple both in coloring
and arrangement of masses and the sim
plicity is carried further to the masses