Drawing of The Glasgow School of Art Library
- NMC/1790C
- Item
- 1958
One of three student drawings of the Mackintosh Library at The Glasgow School of Art.
Duncan, David
Drawing of The Glasgow School of Art Library
One of three student drawings of the Mackintosh Library at The Glasgow School of Art.
Duncan, David
Drawing of The Glasgow School of Art Library
One of three student drawings of the Mackintosh Library at The Glasgow School of Art.
Duncan, David
Drawing of The Glasgow School of Art Library
One of three student drawings of the Mackintosh Library at The Glasgow School of Art.
Duncan, David
Group of women in flowing dresses.
French, Annie
Design for embroidered pulpit-fall, 'Be Ye Doers of the word not hearers only.' The words of the design are taken from James, chapter 1, verse 22 in the New Testament. Inscribed upper right: Design for a pulpit fall/J.R. Newbery Centre: "Be Ye Doers of the world not hearers only".
Newbery, Jessie Wylie
From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.
Mackintosh, Charles Rennie
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
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
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
Bound in volume, The Magazine, November 1894.
Mackintosh, Charles Rennie
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
Appears in The Magazine, April 1894. 'The central figure is based upon that used in the 1893 design for a diploma for the GSA and like that in 'The Harvest Moon', has wings like an angel. Here, however, she appears naked and her outstretched arms and hair merge and are transformed into barren tree-like forms. These descend to the horizon behind which the sun is gradually disappearing under the feet of the winged figure. From the bottom of the picture, and directly beneath the sun, rises a flight of menacing birds. They are presumably nocturnal birds of prey and they seem to be flying directly towards the viewers. This is one of Mackintosh's earliest uses of this strange bird, which was to become more stylised and to appear in many different forms, in several media in his oeuvre.' (Roger Billcliffe).
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
In art nouveau frame drawn in ink on brown backing paper: The Harvest Moon, Chas. R. Mackintosh, 1893, To John Keppie, October 1894.
Mackintosh, Charles Rennie
'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
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
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh produced a number of very similar paintings of stylised bouquets of flowers at this time, c1918-20.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Painted during their stay in Suffolk, when Mackintosh and Margaret Macdonald had left Glasgow.
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
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
Mackintosh, Charles Rennie
From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.
Mackintosh, Charles Rennie
Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.
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
In 1896 McNair held his first one-man show, an exhibition of pastels at the Gutekunst Gallery, London. Twenty-one works, including this, were displayed in distinctive dark-stained wood frames. McNair had clearly drawn inspiration from Whistler’s exhibition installations, even down to the typesetting of the catalogue. The entry for this work explained, ‘The Fairy is guarding the Leaf of Love from the Witch of Evil who has robbed the Tree of Life of all its other leaves.’
MacNair, James Herbert
The Nativity ('And lo the star...')
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'.
MacNair, Frances 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
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 November 1894 edition of 'The Magazine'. "It must have been something like this watercolour.... that evoked the 'critics from foreign parts' (as reported by Gleeson White in The Studio, pp88-9) to deduce 'the personality of the Misses MacDonald from their works' and see them as 'middle-ages sisters, flat footed, with projecting teeth and long past matrimony... gaunt, unlovely females'. Gleeson White who visited Glasgow to see the Mackintosh group was pleasantly surprised to meet two laughing comely girls scarce out of their teens." (MacLaren Young).
MacNair, Frances Macdonald
Mackintosh, Margaret Macdonald
Design for a Bookplate for Lucy Raeburn
Bound in the November 1893 edition of 'The Magazine'.
MacNair, Frances Macdonald
Mackintosh sketchbook (Page 9)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 8)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
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 6)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 5)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 40)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 4)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 39)
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 37)
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 35)
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 33)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie