In fact, it became so popular and so incessantly appropriated and reproduced by Western artists, that the Western World's fascination and preoccupation with Japanese art gave rise to the new term, Japonism or Japonisme. Wikipedia article References Wikipedia article.
Wikipedia: en. Charles Rennie Mackintosh Artworks. Cintra Charles Rennie Mackintosh White tulips Charles Rennie Mackintosh? Landscape Charles Rennie Mackintosh Fetges Charles Rennie Mackintosh Pine Cones Charles Rennie Mackintosh Mimosa Charles Rennie Mackintosh Jasmine Charles Rennie Mackintosh Fritillaria Charles Rennie Mackintosh Petunia, Walberswick Charles Rennie Mackintosh Sea Pink Charles Rennie Mackintosh Related Artists.
George Henry - Margaret Macdonald - In , at the age of 16, Mackintosh became an apprentice to an architect called John Hutchison. He was to work there until , when he moved to the long established and prestigious architectural practice of Honeyman and Keppie. Throughout this time Mackintosh attended evening classes at the Glasgow School of Art, where his talents at last began to be recognised.
It was through the School of Art that in he gained his first commission as a professional, and won a prize from the Glasgow Institute of Fine Art, for a design for a terraced house. It was also at the Glasgow School of Art that Mackintosh met the three people who were to be highly influential on him.
Together they became known as The Four and eventually went on to exhibit their artworks in Glasgow, London, Turin and Vienna. What became known as "The Glasgow style" went on to strongly influenced the Viennese Art Nouveau movement.
Meanwhile things progressed steadily on the architectural front. By Mackintosh was well enough established with Honeyman and Keppie to become a partner, and he became a member of the Royal Institute of British Architects in It was during the ten years either side of that most of the classic buildings associated with Mackintosh emerged.
Mackintosh's attention to detail was fanatical: in the Scotland Street School, for example, hot water pipes were routed below the coathooks, meaning that pupil's coats were warm and dry at the end of the day. But this attention to detail, which some have attributed to borderline autism on Mackintosh's part, also meant that the projects he led were seldom if ever profitable.
Austere, elegant, defiantly "modern," it was shorn of almost all decoration and made historical references to Scottish vernacular architecture and to Japanese arts, a culture in which Mackintosh had an abiding interest.
The building established Mackintosh from the outset as a radical architect determined to find a new design language appropriate for the coming 20th century. It has been said that modern architecture began when Mackintosh built the Glasgow School of Art.
While generally associated with the art nouveau style, Mackintosh rejected such comparisons and did not feel part of the 19th-century art nouveau European style represented by Guimard, Horta, van der Velde, or Gaudi, and little of their sinuous "whiplash" curvilinear expression is to be seen in Mackintosh's work.
He sought to unite natural forms, especially those deriving from plants and flowers, with a new architectural and design vocabulary that set him well apart from the mainstream of architects who looked to Greece, Rome, and Egypt for inspiration from the antique. His marriage to a talented artist-designer, Margaret Macdonald , and the marriage of her sister, Frances, to Mackintosh's close friend Herbert McNair led to the formation of a brilliantly creative group, clearly led by Mackintosh, known variously as "The Four" or "The Spook School.
Considerable attention was focussed on the work of Mackintosh and the "Glasgow Style" artists and designers who had come from the School of Art. In Mackintosh and his friends were invited to create a room complete with furnishings at the Vienna Seccession exhibition.
This created huge interest, and the Mackintoshes were lionized when they went to Vienna. Their exhibition display had a direct influence on the development of the Wiener Werkstatte formed shortly thereafter by Josef Hoffmann. In Glasgow Mackintosh's greatest public exposure was through the creation of a number of restaurants, the tea rooms of his most enduring patron, Kate Cranston. The tea rooms provided a wonderful opportunity for Mackintosh to put into practice his belief that the architect was responsible for every aspect of the commissioned work.
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