Charles Rennie Mackintosh (June 7, 1868 - December 10, 1928) was a Scottish architect, designer, dye and artist. His artistic approach has much in common with European Symbolism. His work, together with his wife Margaret Macdonald, influenced European design movements such as Art Nouveau and Secessionism and was praised by such great modernists as Josef Hoffmann. Mackintosh was born in Glasgow and died in London.
Video Charles Rennie Mackintosh
Early life and education
Charles Rennie Mackintosh was born at 70 Parson Street, Townhead, Glasgow, on June 7, 1868, the fourth child of eleven children and the second son of William McIntosh, a chief of police and police chief of Glasgow City, and his wife, Margaret Rennie. Mackintosh grew up in the Townhead and Dennistoun (Firpark Terrace) areas of Glasgow, and he studied at Reid's Public School and the Allan Glen Institute.
In 1890 Mackintosh was the second winner of the Alexander Thomson Traveling Studentship, which was formed for "the continuation of the study of ancient classical architecture, with special reference to the principles illustrated in Mr. Thomson's works."
Maps Charles Rennie Mackintosh
Name
He changed the spelling of his name from 'McIntosh' to 'Mackintosh' for unknown reasons, just as his father did before him, circa 1893. Confusion continues to surround his use of his name with 'Rennie' sometimes mistakenly substituted for his first name 'Charles'. The modern use of 'Rennie Mackintosh' as ​​a surname is also wrong and she has never known such a thing in her lifetime; 'Rennie' became the middle name he often used in writing his name. Signatures take on various forms including 'C.R. Mackintosh 'and' Chas. R. Mackintosh. 'He should be appropriately referred to as "Charles Rennie Mackintosh" or "Mackintosh" - if necessary a shortened form. "Rennie Mackintosh" is wrong.
Careers and family
Upon returning, he returns to work with Honeyman & amp; Keppie's architectural practice in which he embarked on his first major architectural project, Glasgow Herald Building (now known as The Lighthouse), in 1899. He was engaged to marry his employer's sister, Jessie Keppie.
Around 1892, Mackintosh met fellow artist Margaret Macdonald at the Glasgow School of Art. He and fellow student Herbert MacNair, also an apprentice at Honeyman and Keppie, were introduced to Margaret and his sister Frances MacDonald by Glasgow School of Art's principal, Francis Henry Newbery, who saw similarities in their work. Margaret and Charles were married on August 22, 1900. The couple had no children. MacNair and Frances also married the previous year. The group works collaboratively and became known as "The Four", and is a leading figure in the art and design of Glasgow Style.
In 1904, after he completed several successful building designs, Mackintosh became a partner at Honeyman & amp; Keppie, and the company became Honeyman, Keppie & amp; Rain coat. When economic hardship caused many architectural practices to close, in 1913, he withdrew from the partnership and sought to open his own practice.
Design effect
Mackintosh lives most of his life in the city of Glasgow. Located on the banks of the Clyde River, during the Industrial Revolution, the city has one of the largest production centers in the field of heavy engineering and shipbuilding in the world. Along with the growth and prosperity of the city, a faster response to the high demand for consumer goods and art is needed. Manufactured goods began to be produced, starting to gain popularity. Along with the Industrial Revolution, Asian styles and emerging modernist ideas also influenced Mackintosh designs. As the Japanese isolationist regime softens, they open themselves to globalization that produces a world-renowned Japanese influence. Glasgow's relationship with the eastern state is very close to the construction of a shipyard on the Clyde River that is exposed to the Japanese navy and training engineers. Japanese designs are becoming more accessible and gaining tremendous popularity. In fact, it became so popular and so heavily adapted and reproduced by Western artists that the attraction and preoccupation of the Western World with Japanese art gave rise to new terms, Japonism or Japonism.
This style is admired by Mackintosh for: restraint and economic means rather than a glaring accumulation; simple forms and natural ingredients rather than elaboration and intelligence; use of textures and light and shade rather than patterns and ornaments. In the old western style, furniture is seen as an ornament that displays the wealth of its owner and the value of the piece is established according to the length of time spent creating it. In furniture and Japanese art designs focus on the quality of space, which is meant to evoke a calming and organic feel to the interior.
At the same time a new philosophy relating to the creation of functional and practical designs emerged throughout Europe: the so-called "modernist notions". The main concept of the Modernist movement is to develop innovative ideas and new technologies: designs related to the present and the future, rather than with history and tradition. Heavy decorations and inherited styles are discarded. Although Mackintosh is known as a 'pioneer' of movement, its design is far removed from the gloomy modernist utilitarianism. His concern is to build around the needs of people: people who are seen, not as masses, but as individuals in need instead of machines to live in but a work of art. Mackintosh takes his inspiration from his education in Scotland and combines it with the development of Art Nouveau and the simplicity of Japanese forms.
While working in architecture, Charles Rennie Mackintosh developed his own style: the contrast between a strong angle of elbow and a flower-inspired decorative motif with a fine curve, for example Mackintosh Rose Motif, along with references to traditional Scottish architecture. The project that helped make its international reputation was Glasgow School of Art (1897-1909). During the early stages of the Glasgow School of Art Mackintosh also completed the project of the Queen's Cross Church at Maryhill, Glasgow. It is considered one of the most mysterious projects of Charles Rennie Mackintosh. It is the only church by a Glasgow-born artist to be built and is now the headquarters of the Charles Rennie Mackintosh Society. Like contemporary Frank Lloyd Wright, Mackintosh architectural designs often include wide specifications for details, decorations and furniture from the building. The majority if not all of these detailed and significant contributions to architectural drawings were designed and detailed by his wife Margaret Macdonald whom Charles had met when they both attended Glasgow School of Art. His work was shown at the Vienna Secession Exhibition in 1900. Mackintosh's architectural career is relatively short, but has significant quality and impact. All major commissions are between 1895 and 1906, including designs for private homes, commercial buildings, interior and church renovations.
- Hill House, Helensburgh
- Used Office Daily Note , Glasgow
- Former Glasgow Herald Office on Mitchell Street, now The Lighthouse - Scottish Design and Architecture Center
- 78 Derngate, Northampton (interior design and architectural renovation for Wenman Joseph Bassett-Lowke, founder of Bassett-Lowke)
- 5 Drive, Northampton (for brother-in-law Bassett-Lowke)
Designs not created
Although quite popular (for a period) in his native Scotland, most of the more ambitious Mackintosh designs were not built. The designs for the various buildings for the Glasgow International Exhibition of 1901 were not built, nor the "Haus eines Kunstfreundes" (Art Lovers Home) of the same year. He competed in the 1903 design competition for Liverpool Cathedral, but failed to get a place on the short list (the winner was Giles Gilbert Scott).
Other non-covered Mackintosh designs include:
- Terminus Train,
- Concert hall,
- Hall of Alternative Concert,
- Bar and Dining Room,
- Showcase Room
- Science and Art Museum
- Bab House
House for An Art Lover (1901) was built after his death at Bellahouston Park, Glasgow (1989-1996).
An artist's cottage and studio (1901), known as The Artist's Cottage, was completed at Farr by Inverness in 1992. The architect was Robert Hamilton Macintyre who acted for Dr. and Mrs. Peter. Tovell. Illustrations can be found on the Canmore RCAHMS website.
The first of the unexplained Gatehouse, Auchinbothie (1901) gates was realized as a pair of mirrored house gates on either side of Achnabechan and The Artist's Cottage drive, also in Farr by Inverness. Known as North House and South House , it was completed 1995-7.
Mackintosh architectural results are small, but it affects European design. Popular in Austria and Germany, his work received praise when presented at the Vienna Heritage Exhibition in 1900. The exhibition is also on display in Budapest, Munich, Dresden, Venice, and Moscow.
Design work and painting
Mackintosh, his future wife, Margaret MacDonald, his sister Frances MacDonald, and Herbert MacNair meet in the evening classes at the Glasgow School of Art (see above). They are known as the collaborative group, "The Four", or "The Glasgow Four", and are prominent members of the "Glasgow School" movement. The groups are exhibited in Glasgow, London and Vienna, and this exhibition helps build Mackintosh's reputation. The so-called "Glasgow" style was exhibited in Europe and influenced the Vienna Art Nouveau movement known as Sezessionstil (in English, Vienna Secession) circa 1900. Mackintosh also works in interior design, furniture, textiles and metal. Much of this work combines Mackintosh designs with his wife's, whose flowing flower styles complement his more formal rectilinear work.
Next life
Later in life, disappointed with architecture, Mackintosh works mostly as a watercolourist, painting many landscapes and flower studies (often working with Margaret, in a style that Mackintosh itself gradually merges). They moved to the village of Suffolk, Walberswick in 1914. There, Mackintosh was accused of being a German spy and was arrested in 1915.
In 1923, Mackintosh had moved to Port-Vendres, a Mediterranean coast city in southern France with a warmer climate that was a cheaper place to live. Mackintosh completely abandoned architecture and design and concentrated on watercolor painting. He is interested in the relationship between man-made and natural scenery, and creates a large portfolio of architectural and watercolor painting landscapes. Many of his paintings depict Port Vendres, a small port near the Spanish border, and the Roussillon landscape. The local Charles Rennie Mackintosh Trail details his time at Port Vendres and shows his paintings and location. The couple remained in France for two years, before being forced back to London in 1927 because of illness.
That year, Charles Rennie Mackintosh was diagnosed with throat and tongue cancer. The brief recovery prompted him to leave the hospital and recover at home for several months. Mackintosh was admitted to a nursing home where he died on December 10, 1928 at the age of 60. He was cremated at the Golders Gold Crematorium in London; the ashes are buried in the yard (with markers).
Retrospect
Mackintosh designs gained popularity in the decades after his death. His home for Art Lovers was built at Glasgow's Bellahouston Park in 1996, and the University of Glasgow (which owns most of its watercolors) rebuilt the interior of a Mackintosh-designed, multi-storey house and furnished it with Margaret's work and work. is part of the University Hunterian Museum). The Glasgow School of Art (now "The Mackintosh Building") is cited by architectural critics as one of the finest buildings in Britain. On May 23, 2014 the building was hit by fire. The library was destroyed, but firefighters managed to save the rest of the building.
On June 15, 2018, about a year before the restoration of the building was completed, the building was again attacked by fire.
The Charles Rennie Mackintosh Society encourages greater awareness of Mackintosh's work as an architect, artist, and designer. The rediscovery of Mackintosh as an important figure in the design has been attributed to the appointment of Glasgow as the City of European Culture in 1990, and the exhibition of his work that accompanies the festival throughout the year. Its immortal popularity has since been sparked by further exhibits and books and memorabilia that have portrayed aspects of life and work. The revival of public interest has led to the improvement and opening of more public buildings, such as the Willow Tea Room in Glasgow and 78 Derngate in Northampton. From the 1990s onwards, Scottish artist Stewart Bowman Johnson, who studied at the Mackintosh building at the Glasgow School of Art, produced a series of interpretations by architects including works depicting the doors and windows of Willow's tea shop.
The Metropolitan Museum of Art in New York City held a great retrospective exhibition of the works of Charles Rennie Mackintosh from 21 November 1996 to 16 February 1997. In conjunction with the exhibition are lectures and symposia by scholars, including Pamela Robertson of Hunterian Art Gallery, , Roger Billcliffe, and architect J. Stewart Johnson, and the screening of a documentary about Mackintosh.
Charles Rennie Mackintosh is commemorated on a series of banknotes issued by Clydesdale Bank in 2009; His image appears on the issue of Ã, Â £ 100 records.
In 2012, one of the largest art collections by Charles Rennie Mackintosh and Glasgow Four Glasgow School was sold at auction in Edinburgh for £ 1.3 million. Sales included jobs by Mackintosh's brother-in-law, Frances Macdonald and her husband Herbert MacNair.
In July 2015 it was announced that Mackintosh designs for teahouses would be reconstructed to form a display at the new V & ampere museum in Dundee. Although the original building that housed a tea shop in Glasgow's Ingram Street was destroyed in 1971, its interior has all been dismantled and stored.
See also
- House of England
Note
References
- Davidson, Fiona (1998). Pitkin Guide: Charles Rennie Mackintosh . English: Pitkin Unichrome. ISBNÃ, 0-85372-874-7.
- Fiell, Charlotte and Peter (1995). Charles Rennie Mackintosh . Taschen. ISBNÃ, 3-8228-3204-9.
Further reading
- David Stark Charles Rennie Mackintosh and Co. 1854 to 2004 (2004) ISBNÃ, 1-84033-323-5
- Tamsin Pickeral; Mackintosh Flame Tree Publishing London 2005 ISBNÃ, 1-84451-258-4
- Alan Crawford Charles Rennie Mackintosh (Thames & Hudson)
- John McKean Charles Rennie Mackintosh, Architect, artist, Icon (Lomond, 2000 second edition 2001) ISBN: 0-947782-08-7
- David Brett Charles Rennie Mackintosh: The Poetics of Workmanship (1992)
- Timothy Neat Visible Section of the Imagined Part (1994)
- John McKean Pocket Guide Charles Rennie Mackintosh (Colin Baxter, 1998 and latest edition until 2010)
- ed. Wendy Kaplan Charles Rennie Mackintosh (Abbeville Press 1996)
- John McKean, "Glasgow: from 'Universal' to 'Regionalist' City and beyond - from Thomson to Mackintosh", in the Source of Regionalism in 19th century Architecture, Art and Literature, ed. van Santvoort, Verschaffel and De Meyer, (Leuven, 2008)
- "Fanny Blake" Essential Charles Rennie Macintosh
External links
- Mackintosh, Charles Rennie (1868-1928), Oxford Oxford Biographical Dictionary , Oxford University Press
- Charles Rennie Mackintosh Society, Glasgow
- Unproduced Mackintosh Model and Design
- Gallery of Botanical Paintings
- Charles Rennie Mackintosh - Glasgow Building
- Hunterian & amp; Art Gallery: The Mackintosh House
- Hunterian & amp; Art Gallery: Mackintosh Collection
- paintings by Charles Rennie Mackintosh on WikiGallery.org
- Northern Italian Sketch
- Scottish National Library: Scottish Screen Records (Archive Films "Charles Rennie Mackintosh", 1965, by the Scottish Educational Film Association)
- 3 Painting (s) by or after Charles Rennie Mackintosh on Art UK site
Source of the article : Wikipedia
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