Portrait of a woman with folded arms
- DC 084/5/12
- Item
- c1934-1938
Part of Material relating to Gerard V Murphy, former GSA student
A life sketch with slight traces of white chalk, portraying a woman with folded arms.
Murphy, Gerard V
Portrait of a woman with folded arms
Part of Material relating to Gerard V Murphy, former GSA student
A life sketch with slight traces of white chalk, portraying a woman with folded arms.
Murphy, Gerard V
Part of Material relating to Gerard V Murphy, former GSA student
A watercolour painting depicting three brightly coloured anemone flowers with distinctive leaves, marked the probable creation date '17/10/34' on the back.
Murphy, Gerard V
Part of Material relating to Gerard V Murphy, former GSA student
Diverse studies illustrating human anatomy, including facial muscles and bones, the collarbone, an eye, and muscles of the upper body. Includes annotations of student registration no. ("No. 71") and signed "G. Murphy".
Murphy, Gerard V
Mackintosh, Margaret Macdonald
Bound in the November 1894 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
Mackintosh, Margaret Macdonald
Bound in the Spring 1896 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
Mackintosh, Margaret Macdonald
Wrecking Ball woodcut and cardboard print
Note from the artist: This print is part of the collection Wank!, a series of six posters for various sources - such as essays, video clips, movies or performances - all dealing with the taboo subject of female masturbation. Acting like a curator of these references, I aim to highlight that any attempt to represent feminine masturbation through a feminist eye still finds its limits where a branded masculine interpretation of feminine sexuality starts.
Campistron, Dominique
From The Magazine, April 1894. The long text by Mackintosh which accompanies this watercolour in The Magazine (reproduced in full in Billcliffe's catalogue) suggests that he had already encountered public hostility to his work, possibly even from fellow students, on the grounds of incomprehensibility.
Mackintosh, Charles Rennie
Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 7)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 11)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 12)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 13)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 22)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 24)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 28)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 30)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 32)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 42)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 44)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 45)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 47)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 48)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 2)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 3)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 10)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 15)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 19)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 21)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 26)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 34)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 35)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 36)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 38)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 41)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 43)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 46)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Blind Window, Certosa di Pavia
Painted on Mackintosh's tour of Italy in 1891 with Alexander 'Greek' Thomson travelling scholarship.
Mackintosh, Charles Rennie
Mackintosh's style here is the closest he came to that of Margaret and Frances Macdonald, but his figures are always more substantial and the subject matter less whimsical than theirs.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Study of male; head and upper body, arms crossed.
Anderson, Steven
Study of three chickens, against a black and yellow background.
Fleming, John B
Queen Hippolyta's Guard - The Salute
Study of armed guards. Lower right: R. An Bell/1927/Girgenta Queen Hippolyta's Guard. The Salute Verso: Queen Hippolyta's Guard, The Salute/Robert Anning Bell R.A./28 Holland Park Road W.14 (in chalk) A. Bell.
Bell, Robert Anning
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. An allegorical study.
Bell, Robert Anning
Bound in volume, The Magazine, November 1894.
Mackintosh, Charles Rennie
Bound in volume, The Magazine, November 1894. 'Behind a stylised tree stands another of Mackintosh's mysterious female figures, but this is the first one to appear that is not meticulously drawn. Only the head is shown in any detail, and the shape of the body is hidden by a voluminous cloak from which not even its limbs appear. This figure was to be repeated many times, becoming more and more stereotyped until, with the banners designed for the Turin Exhibition in 1902, the head is the only recognisably human part of a figure with a twelve-foot long, pear shaped torso. In 1895-96, Mackintosh was to develop this drawing into a poster for the Scottish Musical Review (Howarth, p1, 9F). The same cloaked figure appears with similar formal emblems at the ends of the branches of the bush.' (Roger Billcliffe).
Mackintosh, Charles Rennie
Painted during their stay in Suffolk, when Mackintosh and Margaret Macdonald had left Glasgow.
Mackintosh, Charles Rennie