Charles Rennie Mackintosh
Charles Rennie Mackintosh
Charles Rennie McIntosh
7 June 1868
|Died||10 December 1928(aged 60)|
|Education||Glasgow School of Art|
|Known for||Architecture, Art, Design, Decorative Arts|
|Glasgow School of Art, The Willow Tearooms, Hill House, Queen's Cross Church, Scotland Street School|
|Style||Symbolism, Arts and Crafts, Art Nouveau, Glasgow Style|
|Movement||Glasgow Style, Art Nouveau, Symbolism|
|Spouse(s)||Margaret Macdonald Mackintosh|
Charles Rennie Mackintosh (7 June 1868 – 10 December 1928) was a Scottish architect, designer, water colourist and artist. His artistic approach had much in common with European Symbolism. His work, alongside that of his wife Margaret Macdonald, was influential on European design movements such as Art Nouveau and Secessionism and praised by great modernists such as Josef Hoffmann. Mackintosh was born in Glasgow and died in London. He is among the most important figures of Modern Style (British Art Nouveau style).
Early life and education
Charles Rennie Mackintosh was born at 70 Parson Street, Townhead, Glasgow, on 7 June 1868, the fourth of eleven children and second son of William McIntosh, a superintendent and chief clerk of the City of Glasgow Police, and his wife, Margaret Rennie. Mackintosh grew up in the Townhead and Dennistoun (Firpark Terrace) areas of Glasgow, and he attended Reid's Public School and the Allan Glen's Institution from 1880 to 1883.
In 1890 Mackintosh was the second winner of the Alexander Thomson Travelling Studentship, set up for the "furtherance of the study of ancient classic architecture, with special reference to the principles illustrated in Mr. Thomson's works."
He changed the spelling of his name from 'McIntosh' to 'Mackintosh' for unknown reasons, as his father did before him, around 1893. Confusion continues to surround the use of his name with 'Rennie' sometimes incorrectly substituted for his first name of 'Charles'. The modern use of 'Rennie Mackintosh' as a surname is also incorrect and he was never known as such in his lifetime; 'Rennie' being a middle name (his mother's maiden name) which he used often in writing his name. Signatures took various forms including 'C.R. Mackintosh' and 'Chas. R. Mackintosh.' The usage of "Rennie Mackintosh" to refer to him is therefore incorrect and he should instead be referred to as "Charles Rennie Mackintosh" or "Mackintosh". Mackintosh is also sometimes referred to affectionately as 'Toshie', a nickname seen in correspondence and other contemporary literature written by friends and family members.
Career and family
He worked with the Honeyman & Keppie architectural practice where he started his first major architectural project, the 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 her sister Frances MacDonald by the head of the Glasgow School of Art, Francis Henry Newbery, who saw similarities in their work. Margaret and Charles married on 22 August 1900. The couple had no children. MacNair and Frances also married the previous year. The group worked collaboratively and came to be known as "The Four", and were prominent figures in Glasgow Style art and design. Mackintosh and Margaret married, setting up their first home in Mains Street on Blythswood Hill, the street later being renamed as Blythswood Street, Glasgow. Subsequently, they moved to Southpark Avenue, close to Glasgow University.
In 1904, after he had completed several successful building designs, Mackintosh became a partner in Honeyman & Keppie, and the company became Honeyman, Keppie & Mackintosh. When economic hardships were causing many architectural practices to close, in 1913, he resigned from the partnership and attempted to open his own practice.
Mackintosh lived most of his life in the city of Glasgow, located on the banks of the River Clyde. During the Industrial Revolution the city had one of the greatest production centres of heavy engineering and shipbuilding in the world. As the city grew and prospered, a faster response to the high demand for consumer goods and arts was necessary. Industrialized, mass-produced items started to gain popularity. Along with the Industrial Revolution, Asian style and emerging modernist ideas also influenced Mackintosh's designs. When the Japanese isolationist regime softened, they opened themselves to globalisation resulting in notable Japanese influence around the world. Glasgow's link with the eastern country became particularly close with shipyards at the River Clyde being exposed to Japanese navy and training engineers. Japanese design became more accessible and gained great popularity. In fact, it became so popular and so incessantly appropriated and reproduced by Western artists, that the Western world's fascination and preoccupation with Japanese art gave rise to the new term Japonisme or Japonism.
This style was admired by Mackintosh because of its restraint and economy of means rather than ostentatious accumulation; its simple forms and natural materials rather than elaboration and artifice; and its use of texture and light and shadow rather than pattern and ornament. In the old western style, furniture was seen as ornament that displayed the wealth of its owner; the value of the piece was established according to the length of time spent creating it. In the Japanese arts furniture and design focused on the quality of the space, which was meant to evoke a calming and organic feeling to the interior.
At the same time a new philosophy concerned with creating functional and practical design was emerging throughout Europe: the so-called "modernist ideas". The main concept of the Modernist movement was to develop innovative ideas and new technology: design was concerned with the present and the future, rather than with history and tradition. Heavy ornamentation and inherited styles were discarded. Even though Mackintosh became known as the 'pioneer' of the movement, his designs were far removed from the bleak utilitarianism of Modernism. His concern was to build around the needs of people: people seen, not as masses, but as individuals who needed not a machine for living in but a work of art. Mackintosh took his inspiration from his Scottish upbringing and blended them with the flourish of Art Nouveau and the simplicity of Japanese forms.
While working in architecture, Charles Rennie Mackintosh developed his own style: a contrast between strong right angles and floral-inspired decorative motifs with subtle curves (for example, the Mackintosh Rose motif), along with some references to traditional Scottish architecture. The project that helped make his international reputation was the Glasgow School of Art (1897–1909). During the early stages of the Glasgow School of Art Mackintosh also completed the Queen's Cross Church project in Maryhill, Glasgow. This is considered to be one of Mackintosh's most mysterious projects. It is the only church by the Glasgow-born artist to be built and is now the Charles Rennie Mackintosh Society headquarters. Like his contemporary Frank Lloyd Wright, Mackintosh's architectural designs often included extensive specifications for the detailing, decoration, and furnishing of his buildings. The majority, if not all, of this detailing and significant contributions to his architectural drawings were designed and detailed by his wife Margaret Macdonald whom Charles had met when they both attended the Glasgow School of Art. Their work was shown at the eighth Vienna Secession Exhibition in 1900. Mackintosh's architectural career was a relatively short one, but of significant quality and impact. All his major commissions were between 1895 and 1906, including designs for private homes, commercial buildings, interior renovations and churches.
- Hill House, Helensburgh This dwelling is one of the last complete sites, that is filled with furnishing and fittings, designed by Mackintosh in Scotland. Mackintosh paid attention to detail with every aspect of this property.
- The Willow Tearooms, Sauchiehall Street, Glasgow for Catherine Cranston.
- Former Daily Record offices, Glasgow
- Former Glasgow Herald offices in Mitchell Street, now The Lighthouse – Scotland's Centre for Design and Architecture
- 78 Derngate, Northampton (interior design and architectural remodelling for Wenman Joseph Bassett-Lowke, founder of Bassett-Lowke)
- 5 The Drive, Northampton (for Bassett-Lowke's brother-in-law)
Although moderately popular (for a period) in his native Scotland, most of Mackintosh's more ambitious designs were not built. Designs for various buildings for the 1901 Glasgow International Exhibition were not constructed, neither was his "Haus eines Kunstfreundes" (Art Lover's House) of the same year. He competed in the 1903 design competition for Liverpool Cathedral, but failed to gain a place on the shortlist (the winner was Giles Gilbert Scott).
Other unbuilt Mackintosh designs include:
- Railway Terminus
- Concert Hall
- Alternative Concert Hall
- Bar and Dining Room
- Exhibition Hall
- Science and Art Museum
- Chapter House
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 acting for Dr and Mrs Peter Tovell. Illustrations can be found on the RCAHMS Canmore site.
The first of the unexecuted Gate Lodge, Auchinbothie (1901) sketches was realised as a mirrored pair of gatehouses to either side of the Achnabechan and The Artist's Cottage drives, also at Farr by Inverness. Known as North House and South House, these were completed 1995–7.
Mackintosh's architectural output was small, but he did influence European design. Popular in Austria and Germany, his work received acclaim when it was shown at the Vienna Secession Exhibition in 1900. It was also exhibited in Budapest, Munich, Dresden, Venice and Moscow.
Design work and paintings
Mackintosh, his future wife Margaret MacDonald, her sister Frances MacDonald, and Herbert MacNair met at evening classes at the Glasgow School of Art (see above). They became known as a collaborative group, "The Four", or "The Glasgow Four", and were prominent members of the "Glasgow School" movement. The group exhibited in Glasgow, London and Vienna, and these exhibitions helped establish Mackintosh's reputation. The so-called "Glasgow" style was exhibited in Europe and influenced the Viennese Art Nouveau movement known as Sezessionstil (in English, the Vienna Secession) around 1900. Mackintosh also worked in interior design, furniture, textiles and metalwork. Much of this work combines Mackintosh's own designs with those of his wife, whose flowing, floral style complemented his more formal, rectilinear work. Blackie commissioned him in the 1920s to work on bindings for their publications. One of these works was an abstract design that was intended for a new uniform of G. A. Henty's novels. It was instead used for Yarns on the Beach by Henty, and for a series entitled The Boys and Girls Bookshelf, c. 1926. Both Newbolt and Floyer speculate that Mackintosh may have designed the cover for another series by Blackie.
Later in life, disillusioned with architecture, Mackintosh worked largely as a watercolourist, painting numerous landscapes and flower studies (often in collaboration with Margaret, with whose style Mackintosh's own gradually converged). They moved to the Suffolk village of Walberswick in 1914. There Mackintosh was suspected of being a German spy and briefly arrested in 1915 during World War I.
By 1923, the Mackintoshes had moved to Port Vendres, a Mediterranean coastal town in southern France with a warm climate that was a comparably cheaper location in which to live. Mackintosh had entirely abandoned architecture and design and concentrated on watercolour painting. He was interested in the relationships between man-made and naturally occurring landscapes and created a large portfolio of architecture and landscape watercolour paintings. Many of his paintings depict Port Vendres, a small port near the Spanish border, and the landscapes of Roussillon. The local Charles Rennie Mackintosh Trail details his time in Port Vendres and shows the paintings and their locations. The couple remained in France for two years, before being forced to return to London in 1927 due to illness.
That year, Charles Rennie Mackintosh was diagnosed with tongue cancer and throat cancer. This is clearly described in the letters he was writing to his wife from France. A brief recovery prompted him to leave the hospital and convalesce at home for a few months. Mackintosh was admitted to a nursing home where he died on 10 December 1928 at the age of 60. He was cremated the next day at Golders Green Crematorium in London. His ashes were scattered, in accordance with his wishes, over the Mediterranean at Port Vendres from one of the rocks he had painted.
Mackintosh's work grew in popularity in the decades following his death. A number of posthumous presentations of his designs have been implemented. The Mackintosh House ( 1981 ) is a dedicated structure by William Whitfield to house the reconstructed interiors of the Mackintoshes former Glasgow home (sited nearby and demolished in 1963). The house forms an integral part of The University of Glasgow's Hunterian Museum and Art Gallery home to the world's largest collection of Mackintosh's work. The Artist's Cottage project, three unrealised designs from 1901, were constructed as interpretations near Inverness in 1992 and 1995. The House for an Art Lover was built in Glasgow's Bellahouston Park in 1996 as an interpretation of a design competition portfolio by Mackintosh and Macdonald from 1901.
The Glasgow School of Art building (now "The Mackintosh Building") is cited by architectural critics as among the finest buildings in the UK. On 23 May 2014 the building was ravaged by fire. The library was destroyed, but firefighters managed to save the rest of the building. On 15 June 2018, about a year before completion of the restoration of the building the School was again struck by fire. This second fire caused catastrophic damage, effectively destroying all the interiors and leaving the outer walls so structurally unstable that large sections of them had to be taken down to prevent uncontrolled collapse. Such was the global concern that a public commitment to faithfully rebuild The Mackintosh Building was made post-fire by then Director of The Glasgow School of Art, Tom Inns.
The Charles Rennie Mackintosh Society encourages greater awareness of the work of Mackintosh as an architect, artist and designer. The rediscovery of Mackintosh as a significant figure in design has been attributed to the designation of Glasgow as European City of Culture in 1990, and exhibition of his work which accompanied the year-long festival. His enduring popularity since has been fuelled by further exhibitions and books and memorabilia which have illustrated aspects of his life and work. The growth in public interest has led to refurbishment of long-neglected buildings and increased public access: Scotland Street School Museum housed in Mackintosh's 1906 school building opened in 1990. 78 Derngate Northampton opened as a visitor attraction in 2003. The Willow Tea Rooms re-opened following an extensive restoration in 2018.
The Metropolitan Museum of Art in New York City held a major retrospective exhibition of Charles Rennie Mackintosh's works from 21 November 1996 to 16 February 1997. In conjunction with the exhibit were lectures and a symposium by scholars, including Pamela Robertson of the Hunterian Art Gallery, Glasgow art gallery owner Roger Billcliffe, and architect J. Stewart Johnson, and screening of documentary films about Mackintosh.
In 2012, one of the largest collections of art by Charles Rennie Mackintosh and the Glasgow Four Glasgow School was sold at auction in Edinburgh for £1.3m. The sale included work by Mackintosh's sister-in-law Frances Macdonald and her husband Herbert MacNair.
In July 2015 it was announced that Mackintosh's designs for a tearoom would be reconstructed to form a display in Dundee's new V&A museum. Although the original building which housed the tearoom on Glasgow's Ingram Street was demolished in 1971 the interiors had all been dismantled and put into storage. The restored "Oak Room" was revealed when V&A Dundee opened to the public on 15 September 2018.
In June 2018, a mural depicting Mackintosh and using elements of his distinctive style was created in Glasgow to honour the 150th anniversary of the artist's birth. It is made by Glasgow street artist, Rogue One and commissioned by the Radisson Red.
- James Steele; Charles Rennie Mackintosh (1994). Charles Rennie Mackintosh: synthesis in form. Academy Editions. ISBN 9781854903839.
Charles Rennie Mackintosh was born on 7 June 1868 at 70 Parson Street, next to the Martyrs' School in the Townhead district of Glasgow. His father, William McIntosh, married to Margaret Rennie, was a police superintendent, and there were 11 children in the family, living in a flat on the top floor of a three-storey tenement. 1n 1878, a promotion made it possible for the family to move to No 2 Firpark Terrace, Dennistown, further out from the city
- Ellis Woodman, 1 March 2015, Charles Rennie Mackintosh: 'Glasgow's very own architectural genius', The Daily Telegraph
- Edwards, Gareth (8 July 2005). "The many colours of Mackintosh – Scotsman.com News". The Scotsman. Edinburgh. Retrieved 14 September 2009.
- "Dictionary of Scottish Architects – DSA Architect Biography Report (September vkfd;j14, 2009, 10:20 pm)". Retrieved 14 September 2009.
- Kaplan, Wendy(ed.). Charles Rennie Mackintosh, Abbeville Press, 1996. ISBN 0-7892-0080-5. page 19.
- Stamp, Gavin. Toshie Trashed, The London Review of Books, 19 June 2014. Pages 37-38.
- Stamp, Gavin. Toshie Trashed, The London Review of Books, 19 June 2014. Pages 37-38.
- Panther, Patricia (10 January 2011). "Margaret MacDonald: the talented other half of Charles Rennie Mackintosh". BBC Scotland. Retrieved 4 December 2014.
- "MX.04 Interiors for 120 Mains Street" (PDF). Mackintosh Architecture : Context, Making and Meaning. University of Glasgos. Retrieved 4 December 2014.
- "Frequently Asked Questions". Charles Rennie Mackintosh Society. Retrieved 21 November 2020.
- Glasgow's Blythswood, by Graeme Smith, 2021.
- "Margaret macdonald | Features | The Official Gateway to Scotland". Scotland.org. Archived from the original on 16 February 2010. Retrieved 27 March 2011.
- email@example.com, Darrell Wilson. "The Lighthouse". www.thelighthouse.co.uk. Archived from the original on 3 April 2017. Retrieved 29 March 2018.
- "Archived copy". Archived from the original on 5 February 2015. Retrieved 23 October 2015.CS1 maint: archived copy as title (link)
- Wainwright, Oliver (11 February 2015). "Mackmania! Charles Rennie Mackintosh's genius shines in his first architecture retrospective". The Guardian. Retrieved 29 March 2018.
- "Liverpool Cathedral", The Times, 25 September 1902, p. 8
- House for an Art Lover, Bellahouston Park, Glasgow 1996.
- The Hunterian, The University of Glasgow. Mackintosh Collection, cat no: GLAHA 41142-45 Archived 1 February 2014 at the Wayback Machine
- Macintyre, Robert Hamilton (Spring 1992). "An Artist's Cottage and Studio". CRM Society Newsletter (Glasgow), No 58, p5-8.
- Hall, Michael (26 November 1992). "The Artist's Cottage, Inverness". Country Life (London), p34-37.
- Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS), The Artist's Cottage, Canmore ID 82860
- The Hunterian, The University of Glasgow. Mackintosh Collection, cat no: GLAHA 41860. Archived 1 February 2014 at the Wayback Machine
- Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS), Achnabechan, Canmore ID 114263
- Royal Commission on the Ancient and Historical fascinating Monuments of Scotland (RCAHMS), North House, Canmore ID 280055
- Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS), South House, Canmore ID 280056
- "Margaret Macdonald". Undiscovered Scotland: The Ultimate Online Guide.
- Newbolt, Peter (1996). "Appendix IV: Illustration and Design: Notes on Artists and Designers: Mackingosh, Charles Rennie, FRIBA, 1868-1928". G.A. Henty, 1832-1902 : a bibliographical study of his British editions, with short accounts of his publishers, illustrators and designers, and notes on production methods used for his books. Brookfield, Vt.: Scholar Press. pp. 630. Retrieved 2 May 2020.
- Floyer, Barbara (2006). "Charles Rennie Mackintosh Book Covers". 78 Derngate archive. Retrieved 2 May 2020.
- Gordan Tait (29 June 2004). "Rennie Mackintosh locked up as 'German spy'". The Scotsman. Retrieved 22 August 2011.
- "Port-Vendres, official site of the city and the tourist office – Official website". Port-vendres.com. Archived from the original on 15 July 2011. Retrieved 27 March 2011.
- The Mackintosh Trail, L'association Charles Rennie Mackintosh en Roussillon
- "Video 3/3 :Charles Rennie Mackintosh - A Modern Man" (1996)
- BBC Scotland Documentary, 2018 Mackintosh: Glasgow's Neglected Genius
- "Library destroyed at Glasgow School of Art". Guardian.co.uk. Retrieved 25 May 2014.
- "The Glasgow Story: Modern Times". City of Glasgow Culture and Leisure Services. Retrieved 22 June 2009.
- Charles Rennie Mackintosh: Gallery Plan and Program Guide (1996). See also Filler, Martin (17 November 1996). "A Show on the Road May Take Many Forms". The New York Times. Retrieved 7 June 2008.
- "Banknote designs mark Homecoming". BBC News. 14 January 2008. Retrieved 20 January 2009.
- "Art collection, including Mackintosh, sells for £1.3m". BBC News. 7 September 2012. Retrieved 7 September 2009.
- "V&A to recreate lost Charles Rennie Mackintosh work".
- "Charles Rennie Mackintosh - Glasgow History Through Street Art". Glasgow Discovered | Showcasing Independent Music and Arts. 20 October 2019. Retrieved 9 November 2019.
- Virgin names Pendolino Charles Rennie Mackintosh Rail issue 849 28 March 2018 page 24
- Davidson, Fiona (1998). The Pitkin Guide: Charles Rennie Mackintosh. Great Britain: Pitkin Unichrome. ISBN 0-85372-874-7.
- Fiell, Charlotte and Peter (1995). Charles Rennie Mackintosh. Taschen. ISBN 3-8228-3204-9.
- David Stark, Charles Rennie Mackintosh and Co. 1854 to 2004 (2004) ISBN 1-84033-323-5
- Tamsin Pickeral, Mackintosh Flame Tree Publishing London (2005) ISBN 1-84451-258-4
- Alan Crawford, Charles Rennie Mackintosh (Thames & Hudson, 1995)
- 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, Part Seen Part Imagined (1994)
- John McKean, Charles Rennie Mackintosh Pocket Guide (Colin Baxter, 1998 and updated editions to 2010)
- Wendy Kaplan (ed.), Charles Rennie Mackintosh (Abbeville Press 1996)
- John McKean, "Glasgow: from 'Universal' to 'Regionalist' City and beyond – from Thomson to Mackintosh", in Sources of Regionalism in 19th Century Architecture, Art and Literature, ed. van Santvoort, Verschaffel and De Meyer, (Leuven, 2008)
- Fanny Blake, Essential Charles Rennie Macintosh (2001)
|Wikiquote has quotations related to: Charles Rennie Mackintosh|
|Wikimedia Commons has media related to Charles Rennie Mackintosh.|
- Mackintosh, Charles Rennie (1868–1928), Oxford Dictionary of National Biography, Oxford University Press
- Charles Rennie Mackintosh Society, Glasgow
- Unbuilt Mackintosh Models and Designs
- Gallery of Botanical Paintings
- Charles Rennie Mackintosh – Glasgow Buildings
- The Hunterian Museum & Art Gallery: The Mackintosh House
- The Hunterian Museum & Art Gallery: The Mackintosh Collection
- paintings by Charles Rennie Mackintosh at the WikiGallery.org
- The Northern Italian Sketchbook
- National Library of Scotland: Scottish Screen Archive (Archive film "Charles Rennie Mackintosh", 1965, by the Scottish Educational Film Association)
- 3 artworks by or after Charles Rennie Mackintosh at the Art UK site