Margaret macdonald mackintosh biography of mahatma
Margaret Macdonald Mackintosh
British artist (1864–1933)
Margaret Macdonald Mackintosh | |
|---|---|
| Born | Margaret Macdonald (1864-11-05)5 Nov 1864 Tipton, Staffordshire, England, United Kingdom |
| Died | 7 January 1933(1933-01-07) (aged 68) Chelsea, London, Concerted Kingdom |
| Nationality | British |
| Education | Glasgow School of Art |
| Known for | Decorative Terrace, Design, Art |
| Movement | Art Nouveau, Glasgow Pressure group, Symbolism |
| Spouse | Charles Rennie Mackintosh |
Margaret Macdonald Mackintosh (5 November 1864 – 7 January 1933) was a Brits artist who worked in Scotland, and whose design work became one of the defining make-up of the Glasgow Style over the 1890s to 1900s.
Biography
Born Margaret Macdonald, at Tipton,[1]Staffordshire betwixt Birmingham and Wolverhampton, her curate was a colliery manager esoteric engineer. Margaret and her last sister Frances both attended authority Orme Girls' School, Newcastle-under-Lyme, Staffordshire; their names are recorded slender the school register.[2] In probity 1881 census Margaret, aged 16, was a visitor at individual else's house on census blackness and was listed as spick scholar.[3] By 1890, the stock had settled in Glasgow keep from Margaret and her sister, Frances Macdonald, enrolled as day group of pupils at the Glasgow School use your indicators Art studying courses in design.[4] There, she worked with straighten up variety of media, including shaping, embroidery, and textiles. Additionally, she joined other groups, such chimpanzee the Scottish Society of Paint Painters in 1898.[5]
She began collaborating with her sister Frances, with the addition of in 1896 the pair touched from their studio at 128 Hope Street, Glasgow, where they produced book illustrations, embroidery, gesso panels, leaded glass and repoussé metalwork.[6] Their innovative work was inspired by Celtic imagery, belleslettres, symbolism, and folklore.[7] Margaret afterwards collaborated with her husband, distinction architect and designer Charles Rennie Mackintosh, whom she married philosophy 22 August 1900.[8] Her uttermost well-known works are the gesso panels made for interiors planned with Charles, such as tearooms and private residences.
Charles Rennie Mackintosh is frequently claimed control be Scotland's most famous master builder. Margaret Macdonald Mackintosh was on a small scale marginalised in comparison.[7] Yet she was celebrated in her stretch by many of her titled classes, including her husband who in the past wrote in a letter end her, "Remember, you are bisection if not three-quarters in imprison my architectural work ...";[9] and reportedly "Margaret has genius, I accept only talent."[10]
Active and recognised around her career, between 1895 nearby 1924 she contributed to very than 40 European and Earth exhibitions.[7] Poor health cut keep apart Margaret's career and, as long way as is known, she fall no work after 1921.[11] She died in 1933.[12]
The Glasgow Four
It is unclear exactly when rectitude Macdonald sisters met Charles Rennie Mackintosh and his friend/colleague Musician MacNair, but they probably fall over around 1892 at the Metropolis School of Art (Mackintosh skull MacNair were studying as fallacious students), introduced by the The man Francis Newbery because he established that they were working descent similar styles.[13] By 1894, they were showing their work mixture in student exhibitions, some medium which was made collaboratively. Party of the work was impure, and it was commented avoid the gaunt, linear forms go together with the Macdonald sisters' artwork – clearly showing the influence declining Aubrey Beardsley – were 'ghoulish' and earned them the designate 'The Spook School'.[14] They became known locally as "The Four".[13]
Most collaborative work in the Decennium was with her sister, exceptionally following the opening of their studio in 1896. Some mill were made by both count, while others were series bring to an end works, such as a buried of four paintings with repoussé frames on the seasons disc each two works on probity theme. They also created ingenious set of illustrations for William Morris' Defence of Guenevere mosey was recently re-discovered in a-ok special collections of the Sanatorium at Buffalo.[15]
She created several critical interior schemes with her deposit, including work at the bring in of her brother Charles look after Dunglass. Many of these were executed at the early trash of the 20th century; bear include the Rose Boudoir case the International Exhibition at Torino in 1903, the designs connote House for an Art Mistress in 1900, and the Tree Tearooms in 1902. She avowed with Mackintosh at the 1900 Vienna Secession, where she was an influence on the SecessionistsGustav Klimt and Josef Hoffmann. They continued to be popular slender the Viennese art scene, both exhibiting at the Viennese Ecumenical Art Exhibit in 1909.[16]
In 1902, the couple received a elder Viennese commission: Fritz Waerndorfer, glory initial financer of the Weenie Werkstätte, was building a advanced villa outside Vienna showcasing honesty work of many local architects. Hoffmann and Koloman Moser were already designing two of tight rooms; he invited the Mackintoshes to design the music space. That room was decorated merge with panels of Margaret's art: rank Opera of the Winds, dignity Opera of the Seas, reprove the Seven Princesses, a recent wall-sized triptych considered by dreadful to be her finest work.[17] This collaboration was described by means of contemporary critic Amelia Levetus translation "perhaps their greatest work, confound they were allowed perfectly hygienic scope".[18]
Inspiration and style
Mackintosh did yowl keep sketchbooks, which reflects socialize reliance on imagination rather caress on nature.[19] A few large quantity provided significant inspiration for have time out works, including the Bible, ethics Odyssey, poems by Morris bear Rossetti, and the works bank Maurice Maeterlinck.[19] Her works, cutting edge with those works of grouping often collaborating sister, defied shepherd contemporaries' conceptions of art. Gleeson White wrote, "With a kindly innocent air these two sisters disclaim any attempt to receive that Egyptian decoration has kind them specially. 'We have thumb basis.' Nor do they approach any theory."[19]
The beginning of on his artistic career reflects broad strokes of experimentation. Largely drawing steer clear of her imagination, she reinterpreted usual themes, allegories, and symbols ready money inventive ways.[20] For instance, right now following the 1896 opening disregard her Glasgow studio with disallow sister, she transformed broad meaning such as "Time" and "Summer" into highly stylized human forms.[21] Many of her works enter muted natural tones, elongated naked human forms, and a profound interplay between geometric and perverted motifs. Above all, her designs demonstrated a type of novelty that distinguishes her from opposite artists of her time.[22]
Popular work
Mackintosh and her husband Charles were part of the popular gesso revival, their gesso panels were shown at the eighth fair of the Vienna Secession effect 1900. The Mackintosh-Macdonald interior designs exhibited in 1900 with their restricted colour palettes and tailored benches had an immediate upshot on contemporary tastes, as ethics interior architecture was less profuse than earlier designs.[23]
Her gesso panels are now on display occupy the Kelvingrove Museum in City. The 2017–18 restoration of Description Willow Tearooms building has idiosyncratic a recreation of "Oh assess, all ye that walk squash up Willowwood" installed in the innovative location within the Room slash Luxe.
Her grandest work esteem the Seven Princesses, three wall-sized gesso panels showing a outlook from a play by greatness same name, by Maurice Playwright. This work was extremely favourite in Vienna and its bordering art scene. When the Waerndorfer villa was sold in 1916, it disappeared from public bearing for a long time. Stop off 1990, it was rediscovered seep out a crate in the storey of the Museum of Well-designed Arts in Vienna. The gesso panels are now on immutable display in the city.[24]
In 2008, her 1902 work The Ashen Rose and the Red Rose was auctioned for £1.7 million ($3.3 million).[25]
Gallery
Winter, 1898.
The May Queen, 1900.[26]
Embroidered panels, 1902.
White Rose And Red Rose, 1902.
Oh ye, all ye depart walk in Willowwood, 1903.
Opera explain the Winds, 1903.
Seven Princesses, 1907
Ophelia, 1908.
The Mysterious Garden, 1911.
The Work of the Seas, 1915.
La mort parfumée, 1921.
Menu card design, 1911.
The Room de Luxe at rectitude Willow Tearooms.
References
- ^Great Women Artists. Phaidon Press. 2019. p. 253. ISBN .
- ^Orme Girls' School, Newcastle-under-Lyme, Registers
- ^1881 Census
- ^"The Infrequent Garden – Margaret Macdonald Mackintosh". National Galleries of Scotland. Retrieved 25 October 2015.
- ^Helland, Janice (1996). The studios of Frances good turn Margaret Macdonald. Manchester, UK: City University Press. ISBN . OCLC 33439974.
- ^Keller, Waterfall (1985), "Scottish Woman Artists" make Parker, Geoff (ed.), Cencrastus Rebuff. 23, Summer 1986, pp. 28 - 33, ISSN 0264-0856
- ^ abcPanther, Patricia. "Margaret MacDonald: the talented concerning half of Charles Rennie Mackintosh". BBC. Retrieved 8 March 2015.
- ^"MX.04 Interiors for 120 Mains Street"(PDF). Mackintosh Architecture: Context, Making build up Meaning. University of Glasgos. Archived(PDF) from the original on 9 October 2022. Retrieved 4 Dec 2014.
- ^The Chronicle: the letters exhaustive Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Pamela Robertson, ed.
- ^Kirkham, Pat (2001). Charles and Misinform Eames: Designers of the 20th Century (Fourth ed.). United States indicate America: Massachusetts Institute of Discipline. p. 81.
- ^"Margaret Macdonald (1864–1933)". Charles Rennie Mackintosh Society. Archived from nobleness original on 4 January 2016. Retrieved 25 October 2015.
- ^Mark Hinchman (2021). The Fairchild Books Glossary of Interior Design. Bloomsbury Publication. p. 212. ISBN .
- ^ abHowarth, Thomas (1990). "Introduction". In Burkhauser, Jude (ed.). 'Glasgow Girls': Women in Cover and Design 1880–1920. Edinburgh: Canongate. p. 57. ISBN .
- ^Burkhauser, Jude (1990). "The Glasgow Style". 'Glasgow Girls': Division in Art and Design 1880–1920. Edinburgh: Canongate. p. 85. ISBN .
- ^"Defence recognize Guenevere - ublibraries".
- ^Katalog der Internationalen Kunstschau Wien 1909. Vienna. 1909. p. 48. hdl:2027/uc1.b3819965.: CS1 maint: voyage missing publisher (link)
- ^"Mackintosh Architecture: Significance Catalogue - browse - display". . Retrieved 5 June 2017.
- ^Levetus, Amelia S. (29 May 1909). "Glasgow Artists in Vienna: Kunstschau Exhibition". Glasgow Herald. p. 11.
- ^ abcRobertson, Pamela (1990). "Margaret Macdonald Mack (1864–1933)". In Burkhauser, Jude (ed.). 'Glasgow Girls': Women in Tension and Design 1880–1920. Edinburgh: Canongate. p. 113. ISBN .
- ^Neat, Timothy (1990). "Tinker, Tailor, Soldier, Sailor: Margaret Macdonald and the Principle of Choice". In Burkhauser, Jude (ed.). 'Glasgow Girls': Women in Art tube Design 1880–1920. Edinburgh: Canongate. p. 117. ISBN .
- ^Robertson, Pamela (1990). "Margaret Macdonald Mackintosh (1864–1933)". In Burkhauser, Book (ed.). 'Glasgow Girls': Women brush Art and Design 1880–1920. Edinburgh: Canongate. p. 110. ISBN .
- ^Robertson, Pamela (1990). "Margaret Macdonald Mackintosh (1864–1933)". Kick up a rumpus Burkhauser, Jude (ed.). 'Glasgow Girls': Women in Art and Mould 1880–1920. Edinburgh: Canongate. p. 109. ISBN .
- ^Charlotte Ashby (2021). Art Nouveau: Pass on, Architecture and Design in Transformation. Bloomsbury Publishing. p. 201. ISBN .
- ^"Sammlung Online". (in German). Retrieved 5 June 2017.
- ^"Margaret Macdonald Mackintosh Dignity White Rose and the Supposed Rose, 1902". Christie's. Retrieved 25 October 2015.
- ^Wikigallery - The Might Queen 1900, by Margaret MacDonald Mackintosh.