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Mackintosh, Charles Rennie Paintings (visual works)
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One print from 'Abstract Language' (The Philadelphia Series)

One of eight screenprints in a folder inspired by artists and architects who spent their whole lives thinking about squares, rectangles and straight lines: C R Mackintosh, Malevich, Modrian, Lloyd Wright, Newman, Stella, Martin and Halley.
Print 'A' inspired by C R Mackintosh. The screenprints are boxed with an introductory page.

Kilgour, Scott

Lunch, Original Refectory, GSA 42/43

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. GSA students and staff featured in this work include (from left to right), amongst others: Harry McLean, GSA student and conservator (seated at table bottom left, resting elbow on table); Hugh Adam Crawford, GSA staff, Drawing and Painting department (standing, front-facing, slightly left of centre); Joan Eadley, GSA student and artist (centre, standing, facing left); John Miller, GSA staff, Drawing & Painting department (slightly right of centre, facing right, carrying portfolio under right arm); Margot Sandeman, GSA student and artist (slightly right of centre, facing right, arms folded, in conversation with Cordelia Oliver); Cordelia Oliver, GSA student, art critic and journalist (slightly right of centre, facing left, in conversation with Margot Sandeman); Margaret McGavin, GSA student and artist (right of centre, adjacent to Cordelia Oliver, front-facing but looking right, in conversation with another female student); David Donaldson, GSA staff, Drawing and Painting department (right of centre, left-facing, positioned between Margaret McGavin and the female student she is talking to); Benno Schotz, GSA staff, Modelling and Sculpture department and sculptor (right hand side, facing left); Timothy Powell, GSA staff, Graphic Design department (right hand side, in the foreground, front-facing, wearing a suit).

Gardner, Tom

White Roses

The wavy pattern in the background is very similar to some of the most abstract designs for textiles for which Mackintosh was producing at this time.' (Roger Billcliffe).

Mackintosh, Charles Rennie

The Downs, Worth Matravers

'As in 'The Village' there are no figures in this view of the Dorset countryside. This absolute lack of human activity gives Mackintosh's pictures an air of eerie, even surreal, desertion. They are formal landscapes... the most dominant feature in this work is the tall telegraph pole, a formal and unnatural element in this gentle Dorset landscape.' (Roger Billcliffe).

Mackintosh, Charles Rennie

The Village, Worth Matravers

In July Mackintosh and Margaret Macdonald spent a holiday in Dorset re-visiting many of the place he had visited in 1895. 'In 'The Village' and 'The Downs' Mackintosh makes his first conscious moves towards his mature style of the Port Vendres period. He is obviously concerned with the pattern of the landscape, picking out features like the stepped hillside, the stone walls, paths and roofs of village houses. These ordinary motifs are given an eerie emphasis by being painted in an equally detailed manner whether they are in the foreground of the the distance... it was probably at this time... that he decided to concentrate more and more on painting. By 1923 he had decided to forsake architecture and design and devote the rest of his life to producing watercolours.' (Roger Billcliffe).

Mackintosh, Charles Rennie

The Building Committee of the Board of Governors of The Glasgow School of Art

Portrait group. Inscribed on frame: "Mr. Charles. R. Mackintosh FRIBA The Architect/Col. R.J.Bennett V.D./Mr. David Barclay FRIBA/Sir Francis Powell, LLD, PRSW/Mr. John Munro FRIBA/Mr. Patrick S. Dunn - Convener/Councillor J. Mollison, MINA/ Mr. Hugh Reid DL/ Sir Wm Bilsland, Bart. LLD, DL/Sir John J. Burnet, RSA, FRIBA, LLD/Mr. John Henderson MA/Sir James Fleming - Chairman of Governors/Mr. John M. Groundwater - secretary/ Mr. Francis H. Newbery CAV OFF, INT, SBC, ARCA - Director, pinxit". When Newbery exhibited this group at the Glasgow Institute of the Fine Arts in 1913 it did not include the figure of Mackintosh. In 1914 he painted his large portrait of Mackintosh (collection: Scottish National Portrait Gallery) and his Building Committee portrait group was offered to the Board and accepted. When it was unveiled in 1914 it was seen that he had added Mackintosh's figure, a smaller version of his individual portrait, to the left of the group, and redated the whole canvas 1914. Painting cleaned and relined in 1963 by Mr Harry McLean who discovered the late addition of the figure of Mackintosh.

Newbery, Francis Henry

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The canvas relates to smaller watercolours in the Hunterian collection, formerly thought to be textile designs, and to their painted canvas, 'The Little Hills' by Margaret Macdonald. It is likely that they were intended for 'The Dug-Out', though it is not known whether they were ever installed there. Jessie Newbery recalled in 1933, that 'He (Mackintosh) and his wife spent the winter of 1914 painting two large decorations for Miss Cranston'. This would have been in Suffolk, after they had left Glasgow. Although The Dug-Out was not created till 1917-18 it is not unlikely that Miss Cranston was considering the project some years earlier. The canvas was found in the GSA in a single roll in 1981 and was cleaned and mounted on two stretchers.

Mackintosh, Charles Rennie

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The canvas relates to smaller watercolours in the Hunterian collection, formerly thought to be textile designs, and to their painted canvas, 'The Little Hills' by Margaret Macdonald. It is likely that they were intended for 'The Dug-Out', though it is not known whether they were ever installed there. Jessie Newbery recalled in 1933, that 'He (Mackintosh) and his wife spent the winter of 1914 painting two large decorations for Miss Cranston'. This would have been in Suffolk, after they had left Glasgow. Although The Dug-Out was not created till 1917-18 it is not unlikely that Miss Cranston was considering the project some years earlier. The canvas was found in the GSA in a single roll in 1981 and was cleaned and mounted on two stretchers.

Mackintosh, Charles Rennie

Fairies

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

The Tree of Personal Effort

From The Magazine, Spring 1896. Inscribed: The Tree of Personal Effort, The Sun of Indifference, Charles Rennie Mackintosh, January 1895.' The exact meaning of the symbolism of this work, and its companion, 'The Tree of Influence' has eluded all commentators on Mackintosh's early water-colours. The obvious source of the symbolism is nature, and Mackintosh here reaches his most extreme distortion of organic forms.' (Roger Billcliffe).

Mackintosh, Charles Rennie

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