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Mackintosh, Charles Rennie Fine arts With digital objects
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Cabbages in an Orchard

Cabbages in an Orchard

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

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

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

Lunch, Original Refectory, GSA 42/43

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

Fairies

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 Village, Worth Matravers

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

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

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

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