Importance of Charles Rennie Mackintosh (Trend Setter)?

Question

Importance of Charles Rennie Mackintosh (Trend Setter)?

Answer 1

Mackintosh was born and raised in Scotland and was influenced in his architectural, art and furniture crafting by the modernist movement, Asian style, and the industrial revolution going on at the time of his young childhood. He was "ahead of his time" in terms of his style, creatively unique designs and architectural prowess. His arts and crafts style design was very popular and was similar to another architect designer, Frank Lloyd Wright. For more information please click the link below.

en.wikipedia.org/wiki/Charles_Rennie_M...

Answer 2

Charles Rennie Mackintosh (June 7, 1868–December 10, 1928) was a Scottish architect, designer, and watercolourist. He was a designer in the Arts and Crafts movement and also the main exponent of Art Nouveau in the United Kingdom. He had a considerable influence on European design.Charles Rennie Mackintosh was born in Glasgow on 7 June 1868. He was the son of William McIntosh and Margaret Rennie. The young Charles attended the former Allan Glen's School.[1] At the age of 16 he was apprenticed to an architect named John Hutchison, where he worked from 1884 until 1889. During this time, 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."[2] He became a draughtsman with Honeyman and Keppie, a new architectural practice, eventually becoming a partner in 1903.

He lived most of his life in the prosperous city of Glasgow. Located by the margins 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, shipyards building at the River Clyde were exposed to Japanese navy and training engineers; Glasgow’s link with the eastern country became particularly close. Japanese design became more accessible and gained great popularity. 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; the 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 and 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 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.

Glasgow School of Art

Glasgow School of Art

All along he attended evening classes in art at the Glasgow School of Art. It was at these classes that he first met Margaret MacDonald (whom he later married), her sister Frances MacDonald, and Herbert MacNair who was also a fellow apprentice with Mackintosh at Honeyman and Keppie. This group of artists, known as "The Four," 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 Secession) around 1900.

He joined a firm of architects in 1889 and developed his own style: a contrast between strong right angles and floral-inspired decorative motifs with subtle curves, e.g. 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 Charles Rennie Mackintosh 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.[3]

Mackintosh’s career was a relatively short one, but of significant quality and impact. All his major commissions were between 1896 and 1906, where he designed private homes, commercial buildings, interior renovations, church, and furniture. He died on December 10, 1928 of throat cancer.

Among his noted architectural works are:

    * Windyhill, Kilmacolm

    * Hill House, Helensburgh (National Trust for Scotland)

    * House for an Art Lover, Glasgow

    * The Mackintosh House (interior design, reconstructed with original furniture and fitments at the Hunterian Museum and Art Gallery, Glasgow)

    * Queen's Cross Church, Glasgow

    * Ruchill Church Hall, Glasgow

    * Holy Trinity Church, Bridge of Allan, Stirling

    * Scotland Street School, Glasgow, now Scotland Street School Museum.

    * The Willow Tearooms, Sauchiehall Street, Glasgow; one of Miss Cranston's Tearooms: see Catherine Cranston for his interior design work on her other tea rooms

    * Hous'hill, interior design of the home of Catherine Cranston and her husband John Cochrane (demolished, furniture in collections)

    * Glasgow School of Art, Glasgow

    * Craigie Hall, Glasgow

    * Martyrs' Public School, Glasgow

    * The Royal Highland Fusiliers Regimental Museum, Glasgow

    * Former Daily Record offices, Glasgow

    * Former Glasgow Herald offices in Mitchell Street, now The Lighthouse - Scotland's Centre for Architecture, Design and the City

    * 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)

Unbuilt Mackintosh

Although moderately popular (for a period) in his native Scotland, most of his more ambitious designs were not built. His designs of 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 lost the commission to Giles Gilbert Scott.

The House for An Art Lover was built after his death (1989-1996). However, Mackintosh left many unbuilt designs:

    * Railway Terminus,

    * Concert Hall,

    * Alternative Concert Hall,

    * Bar and Dining Room,

    * Exhibition Hall

    * Science and Art Museum

    * Chapter House

    * Liverpool Cathedral - Anglican Cathedral competition entry

Although Mackintosh's architectural output was fairly small he had a considerable influence on European design. Especially popular in Austria and Germany, Mackintosh's work was highly acclaimed when it was shown at the Vienna Secession Exhibition in 1900. It was also exhibited in Budapest, Munich, Dresden, Venice and Moscow.

[edit] Design work and paintings

The Fort, c. 1925-1926. Fort Mailly, a ruined 16th century fortification on the outskirts of Port Vendres.

The Fort, c. 1925-1926. Fort Mailly, a ruined 16th century fortification on the outskirts of Port Vendres.

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. Like his contemporary Frank Lloyd Wright, Mackintosh's architectural designs often included extensive specifications for the detailing, decoration, and furnishing of his buildings. His work was shown at the Vienna Secession Exhibition in 1900.

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) in the Suffolk village of Walberswick (to which the pair moved in 1914), and where he was arrested as a possible spy in 1915.

By 1923, he had entirely abandoned architecture and design and moved to the south of France with Margaret where he concentrated on watercolour painting. He was interested in the relationships between man-made and naturally occurring landscapes. Many of his paintings depict Port Vendres, a small port near the Spanish border, and the nearby landscapes.

[edit] Retrospect

Mackintosh's designs gained in popularity in the decades following his death. His House for an Art Lover was finally built in Glasgow's Bellahouston Park in 1996, and the University of Glasgow (which owns the majority of his watercolour work) rebuilt a terraced house Mackintosh had designed, and furnished it with his and Margaret's work (it is part of the University's Hunterian Museum). The Glasgow School of Art building (now renamed "The Mackintosh Building") is regularly cited by architectural critics as among the very finest buildings in the UK. The Charles Rennie Mackintosh Society tries to encourage a greater awareness of the work of Mackintosh as an important architect, artist and designer.

The Metropolitan Museum of Art in New York City held a major retrospective exhibition of Charles Rennie Mackintosh's works from 21 November 1996 through 16 February 1997. In conjunction with that exhibit, there were lectures and a symposium by major scholars, including Pamela Robertson of the Hunterian Art Gallery, Glasgow art gallery owner Roger Billcliffe, and architect J. Stewart Johnson, and screening of documentary