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d'ART ID#: 120618
Length: 15.00 in (38.10 cm)
Height: 12.00 in (30.48 cm)
Depth: 0.00 in (0.00 cm)
Framed: no
Year Created: 0
Dominant colors
#666666
#999999
#9999cc
#cccc66
#ffcc99
Media Types:
Giclee , Reproduction
Style & Subject:
Landscape , Other
Artist's Bio:
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Marc Bohne

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Marc Bohne  Artwork
Orchard Near Chamberino

Marc Bohne

Limited Edition Prints - US $195.00

Published by WinnDevon
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Description...
BM109
GICLEE ON PAPER

"Orchard Near Chamberino" by Marc Bohne


Limited Edition Giclee on Paper
Signed and Numbered
Image Size: 15 x 12
Print Size: 19 x 16


"Please call 866-FINE-ART (866-346-3278) for additional information and price quotes."
"Availability/Prices subject to change."




Marc Bohne
HISTORY & BACKGROUND


Marcus Bohne was born and raised in El Paso, Texas. His earliest art influence came from the goofy but venerable Mad Magazine, particularly the movie parodies that were drawn by comic artist Mort Drucker. The young Marc was so impressed by Drucker’s ability to make drawing lifelike that he spent hours trying to imitate his comics.

When asked why he became an artist, Bohne says that he’s always enjoyed doing it, “so I made the decision to do what I enjoyed doing.” And when asked what he loves about art, Bohne’s reply, like his art, is honest and original: “I am not sure that I do love art in general. I do love doing what I do, but most of what is considered art is not of much interest to me. It serves a particular function in my life, and I enjoy and appreciate that function. It is my outlet for a type of expression, it satisfies my need to generate something that defines me. It allows me to explore and express internal responses to my world that would take many pages of text. To me it is like being a writer, only the picture is worth many thousand words.”

Bohne’s exquisite landscapes transcend the experience of the naked eye, reaching the viewer as profound expressions of the artist’s unique human experience. He treats his landscapes more as portraits than as snapshots of a place. “Portraits contain both the subject and the observer,” says Bohne. “And good portraits show some evidence of that relationship.”


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