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Charles Rennie Mackintosh and Glasgow School of Art. 2 Furniture in the School C

Description: Charles Rennie Mackintosh and Glasgow School of Art. 2 Furniture in the School Collection. Selected and described b y H. Jefferson Barnes / Designed by Gordon F. Huntly. von Mackintosh, Charles Rennie:Autor(en) Mackintosh, Charles Rennie:Verlag / Jahr Glasgow, School of Art.,Format / Einband Paperback. 29a illustrations / photos,Sprache EnglischGewicht ca. 550 gBestell-Nr 1187493Bemerkungen Good condition. Slightly faded at the edges. Cover loosened from inner book. -- Charles Rennie Mackintosh, the architect, was born in Glasgow on the 7th of June 1868. -- The Glasgow School of Art must be regarded as his major architectural achievement. -- This publication does not, in any way, attempt to be a comprehensive survey of Mackintosh's work as a furniture designer. The examples are all taken from the School of Art collection and although this collection is extensive, it is not yet fully representative of all aspects. This is particularly true of the 'white' furniture. -- The main impetus towards establishing a collection of Mackintosh's furniture at the School of Art came from Professor Thomas Howarth, at that time a young member of the teaching staff and working on his book 'Charles Rennie Mackintosh and the Modern Movement' which, since its first publication in 1952, has been the standard work of reference on the architect. -- One of the finest rooms in the School, on the first floor of the east wing, was set aside to house the nucleus of the collection. The Room was originally designed as a Board Room, and is now known as the Mackintosh Room. -- The collection has grown considerably by gifts and purchases since it was opened in 1947 by Miss Nancy Mackintosh, sister of the architect. -- A further display of furniture was arranged in a basement room, formerly a store, and opened in 1968 to mark the centenary of Mackintosh's birth. -- In addition to these two collections, the furniture is housed in many rooms in the School, some of which are seldom available to visitors and for this reason alone we trust this publication may prove of some interest and value to students of his work. -- That an outstanding architect should have devoted so much time to the design of furniture now seems rather unusual. One has to bear in mind the fact that even 75 years ago there were still large numbers of comparatively small manufacturers who were constantly producing work to customers' personal specifications. Both Glasgow and nearby Ayrshire were well served in this way. -- Quite apart, however, from this general tendency, there is no doubt that Mackintosh was unusual amongst architects not only by reason of his particular genius but because he was also a remarkable and sensitive artist. Had he and his wife, Margaret Macdonald, produced nothing but the graphic work and paintings which survive, they would still command a place in the history of their own period. His fellow student of architecture, Herbet McNair, in the early years was closely associated with Mackintosh; with the two sisters Macdonald, whom they eventually married, they formed the partnership of 'The Four'. Although a very creditable designer, McNair did not succeed as an architect and became primarily concerned with interior decoration and the design of furniture and other objects. Mackintosh, in contrast, was capable of solving the larger architectural problems with remarkable skill and originality and his interest in furniture, in many instances, seemed to stem from an apparent super-abundance of creative energy and total involvement. Having created a building he wished to ensure that the sequences of areas and volumes were, in fact, brought to life and further sub-divided to their greatest possible advantage. Given the slightest encouragement, he was prepared to carry this organisation down to the smallest detail. The inhabitants of some of these rooms must, at times, have felt they should consult the architect about the very clothes they wore. -- Mackintosh was, of course, particularly interested in the arrangement of interior space, and for this reason it is difficult to evaluate some of the movable furniture once it has been disassociated from the sometimes intricate background of screens, balconies and open staircases for which it was originally designed. -- He was typically Scottish in that he was, given the opportunity, interested in grandeur and drama, but he was fortunately able to lavish all his genius of invention and skill on quite small problems when these were all that were available. His interest in furniture and interior design must, in large part, be due to the particular requirements of one of his most sympathetic and inspiring clients, Miss Catherine Cranston. The series of tea-rooms which this remarkable woman established in the centre of Glasgow round about the turn of the century were in themselves a social phenomenon. These were virtually the first places of their kind where even the richest and most elegant of Edwardian female society might properly meet without chaperons. It is very important to visualise, when one looks at the rather spare crisp lines of many of the chairs and especially those with high backs, the ample richness of Edwardian tailoring and its emphasis on good material. Mackintosh seemed determined that the verticals, about which he was so keen, should establish themselves above even the most extravagant and splendid hairdressing and millinery. By present day standards, the chairs are uncomfortable for prolonged use. They were, of course, not designed for relaxing in but rather for sitting on with due regard to proper deportment. Mackintosh is known to have been particularly concerned with the introduction of vertical elements within an interior; he disliked the idea of the furniture being all of much the same height. -- It is also important to remember that much of his furniture was, in fact, designed for tea-rooms. Although Miss Cranston probably did not insist on quite the same use of every square foot, as a modern restaurateur might have to do, the rooms were filled with furniture and people. -- This is probably at least part of the reason why the designs use elements which are often so light and refined as to be barely capable of sound construction. The furniture, the fitted screens, the lights-which as often as not were suspended on wires, all combined to create a fascinating tracery within the rooms themselves. -- It would, however, be quite unlike Mackintosh If there were not startling contrasts, so that in the furniture you do find pieces of heroic proportions and immensely heavy construction which must have been very difficult to move once in place. -- The interest which Mackintosh took in his work for Miss Cranston may be gauged from the fact that in the first projects in Buchanan Street and Argyle Street he was responsible for only comparatively few items of either mural painting orfurniture. In Ingram Street he gradually worked himself into a position of authority, eventually altering the work of other designers, and only atthe WillowTea-room in -- Sauchiehall Streetdid he start from the beginning of the project in sole charge of it. With his temperament, which was not easy, it seems unlikely that he would have persevered so long with this work had he not been deeply absorbed in it. On the whole the furniture is very simple in construction, at first sight, deceptively simple. On closer examination it will be found that almost every element, whether an arm, a leg or other member, is subtly tapered or may change section throughout its length. He was particularly fond of tapering the opposite sides of a member of rectangular section in opposing directions so that the greater width at one end is at right angles to the greater width at the other end. In spite of these subtleties one is struck by the fact that here is furniture which, with very small modifications, could be mass produced by machine techniques. Largely because his working life was so short his designs and methods of construction were seldom completely resolved. He was so often asking for the impossible; it is, however, remarkable how well some of the tea-room furniture stood up to use. -- In other cases unfortunately this was not so as with, for example, the curious version of a winsdor chair designed forthe School of Art Library. -- In the furniture the members are frequently so slight that even with careful jointing and a good adhesive the piece does not stand up to hard usage. Another common difficulty is that stretcher spars are sometimes so light or placed so near the ground that, with the careless usage of modern feet, breakages are frequent. -- In other instances the furniture contains elements which embody long slow and subtle curves sculpted out of what must have been forthe furniture industry massive pieces of wood. This characteristic is also apparent in the fitted woodwork. Although Mackintosh was prodigal in the amount of full scale detailing he did, the superb quality of this work seems to imply a remarkably sympathetic relationship between designer and craftsman. It is also interesting to note that in those cases where we have been able to show the original sketch design, the finished piece almost always varies from this to a greater or less extent. -- It is not certain whether, in fact, these changes were all made between the sketch and the working drawing. If so, these working drawings never seem to have survived the workshop. It seems most likely that as with his architecture, his furniture design was a continuing process from the original concepttothefinished article, and some of the later stages were really decided between the designer and the craftsman on the job. This close understanding between craftsman and designer is most strikingly evident in much of the woodwork which forms part of the fabric of the School. Although very little of the woodwork is illustrated here except in context with the furniture, it is hoped to make a fuller study of this aspect of Mackintosh's work for eventual publication in this series. -- Almost all the furniture in the School collections is made of oak, probably European in origin. -- The woodwork in the School is mostly of Baltic pine as is some of the furniture. There are also a few pieces of sycamore, or of some exotic hardwood not unlike sycamore. -- There is no doubt that Mackintosh respected his materials; he went to a good deal of trouble to achieve stains that were not too glossy and which did not obscure the grain of the wood. A great deal of the panelling in the School is of planks straight off the saw without being planed at all. -- He did not, however, make any sort of cult of the use of natural colour and texture. Much of his furniture is stained almost black, some stained dark green and some quite a bright green. -- A great deal of it, although made of oak, is painted white with a coach-painting technique to produce a fine enamel-like surface. In the pieces where there is elaborate shaping and fretting this finish is remarkablydifferentfrom what must have been the original character of the wood. -- None of the furniture uses veneers of any sort and although the timber must have been well seasoned and stable by modern standards, some very severe cracking occurs in places, particularly where wide planks are fretted. -- In the very early example of the domino table, the mortice joints holding the top to the substructure are carried right through the top surface and form a discreet pattern. This frank expression of construction has since become very well thought of. In the sample cabinet for William Douglas, he uses plywood for the base of the drawers. At the time this must have been a material little used in cabinet-making. Unfortunately, little of the original upholstery remains. In the tea-rooms, Mackintosh used the traditional rush seats on some chairs, on others linen and a variety of horse-hair fabrics, some of interesting weave. In some of the more elaborate chairs and settles of which the School does not have examples, this linen was decorated with stencilled patterns. -- It is hoped that the photographs of the various pieces will speak for themselves. In furniture, as in other things, Mackintosh was too good a designer ever to ignore function, construction or material, but he had a clear vision as to what the finished piece should look like and strove with the passion of a sculptor to achieve as much of this concept as other considerations allowed. The end was always more important than the means. (Introduction) Unser Preis EUR 28,00(inkl. MwSt.)Versandkostenfrei innerhalb Deutschlands Selbstverständlich können Sie den Titel auch bei uns abholen. Unsere Bestände befinden sich in Berlin-Tiergarten. Bitte senden Sie uns eine kurze Nachricht!Aufgenommen mit whBOOKSicheres Bestellen - Order-Control geprÜft!Artikel eingestellt mit dem w+h GmbH eBay-Service Daten und Bilder powered by Buchfreund (2023-07-28)

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End Time: 2023-12-27T20:42:59.000Z

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Charles Rennie Mackintosh and Glasgow School of Art. 2 Furniture in the School C

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Genre: Kunst & Kultur

Thema: Architektur

Verlag: Glasgow, School of Art

Autor: Mackintosh, Charles Rennie

Sprache: Englisch

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