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Charles Rennie Mackintosh. Detail of stenciled back from High-Backed Chair, 1902. Color wash stenciled on linen. Hunterian Art Gallery, University of Glasgow.References to the country and to the vernacular traditions were important but needed to be filtered through urban perception. In this sense the New Art would have struck a chord, in that it presented nature processed for the urban palate, with all folksiness and rough edges removed.
The Hill House from the southeast.”Here is the house: it is not an Italian villa, and English mansion house, a Swiss chalet, or a Scotch castle. It is a dwelling house.”--Charles Rennie Mackintosh to Walter Blackie, on handing over The Hill House, 1904
Charles Rennie Mackintosh. Photographed by James Craig Annan, 1893.
The Library.The Library of the Glasgow School of Art is in fact made up of very simple elements put together in a very complex way, for aesthetic rather than functional reasons. The result is a composition line, not mass; the dominant lines are provided by sharp arrises of sawn timber and are straight, but subtly set off by curves. These curves are conspicuous in the notched balusters that, for purely ornamental reasons, join the gallery balustrade to the posts; and they are conspicuous in the suspended panels of ornament, each one different, like a series of musical notations to which only Mackintosh had the key. Even more subtle are the slightly curved facets or arches; one suspects that even the slight irregularities in the vertical lines of electrical cables would have appealed to Mackintosh.
Charles Rennie Mackintosh. The Rock, 1927. Pencil and water-color, 12 x 14-1/2 in. (30.5 x 36.8 cm). Private collection.Subject matter was often boldly manipulated to achieve a balanced composition. Different views of different subjects would be dovetailed together. In The Rock the background view of Port Vendres was painted in first, from a vantage point in Anse Christine, a bay south of Port Vendres; Mackintosh then moved slightly to the west to a vantage point from which he would have the desired view of his principal subject, the rocky outcrop.
Charles Rennie Mackintosh

Edited by Wendy Kaplan 
Size: 10 x 11" 
Cloth, 384 pages
241 illustrations, 119 in full color
Published 1996
ISBN: 978-1-55859-791-4
Out of Stock
$75.00


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Published to accompany a major international retrospective, this authoritative, lavishly illustrated volume will be the definitive book on Mackintosh for years to come.

-- WINNER of the New York Book Show Award

Architect, interior designer, furniture designer, painter, and graphic artist, Charles Rennie Mackintosh (1868-1928) was a modern Renaissance man. This far-ranging book by the leading scholars in the field offers new information and ideas about many aspects of Mackintoshs work: his famous tea rooms, his distinctive furniture, and his evocative paintings. In addition, individual chapters are devoted to his two most remarkable surviving buildings—the Glasgow School of Art and The Hill House—and are each illustrated with specially commissioned color photographs. The authors also provide a fresh and thoughtful look at Mackintoshs context in turn-of-the-century Glasgow and London while revising many of the myths that have long obscured his life and career. His extensive collaboration with his wife, Margaret Macdonald, and his working relationships with his mentors and patrons receive enlightening scrutiny as well.

This authoritative volume—which accompanies a major retrospective with an international tour, organized by the Glasgow Museums—also contains an extensive chronology, a cast of characters, a selected bibliography, and an appendix of the Mackintosh buildings and interiors that are still in existence.

Informative, eloquent, lavishly illustrated, and elegantly designed, this will be the definitive book on Mackintosh for years to come.

Wendy Kaplan, curator of the Wolfsonian, Miami Beach, edited Charles Rennie Mackintosh and wrote the introduction. The other contributors are Alan Crawford, Mark Girouard, Janice Helland, Juliet Kinchin, Pat Kirkham, John McKean, Pamela Robertson, Daniel Robbins, Gavin Stamp, and David Walker.

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