Spring 2018 CELEBRATORY Issue: 150 Years Since the Birth Of
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WC-20-04-20-DT-Mackintosh-Slides.Pdf
Aim • I can say who Charles Rennie Mackintosh was and give some information about his work. Success Criteria • StatementI can respond 1 Lorem to the ipsum work dolorof artists sit amet, and designers consectetur by adipiscingdiscussing elit.my thoughts and feelings. • Statement 2 • Sub statement Charles Rennie Mackintosh Charles Rennie Mackintosh was born in Glasgow on 7th June 1868. Charles became an apprentice architect for a company in Glasgow. He enrolled in evening classes at Glasgow School of Art in the 1890s. His talent grew and he won prizes for his work, including an award that allowed him to take a tour of Italy to study the architecture. Charles also met three friends at the School of Art. The group became known as ‘The Four’. They were Charles, James Herbert McNair, and the sisters; Margaret and Frances Macdonald. They produced new art and designs which became known as the ‘Glasgow Style’. In 1899 McNair and Frances Macdonald married. Charles married Margaret Macdonald the following year. Charles Rennie Mackintosh As well as architecture, Mackintosh designed furniture and produced other art work such as posters and water colours. In Fairyland, Watercolour, Scottish Musical Review, Poster The Room de Luxe at The Willow Tearooms, Glasgow 1897 1896 Designed 1903 Photos granted under creative commons licence, wikimedia - attribution Charles Rennie Mackintosh In 1896 he was asked to design a new building for the Glasgow School of Art. He designed Glasgow’s Queen’s Cross Church and the Scotland Street School. Mackintosh also designed two large private houses, 'Windyhill' in Kilmacolm and 'The Hill House' in Helensburgh. -
Critical Values: the Career of Charles Rennie Mackintosh 1900-2015 Professor Pamela Robertson It Is a Great Pleasure to Be Back
Keynote Speech Strand 4 Critical Values: The Career of Charles Rennie Mackintosh 1900-2015 Professor Pamela Robertson It is a great pleasure to be back in Barcelona for this exciting Congress. I am grateful to the organisers, in particular Lluis Bosch and Mireia Freixa, for the invitation to speak to you today on Mackintosh, and to all those whose hard work has delivered such a successful and stimulating event. The strand this afternoon is research, specifically research in progress. This session invites us to reflect, for a moment, on critical values and critical fortunes. How are reputations and understandings formed? What value systems are they based on? How do they shift, and why? What are the future directions for us as curators, scholars, teachers? What I aim to present briefly today is threefold: an overview of the critical literature and research surrounding the career of Charles Rennie Mackintosh from around 1900 to 2015 (Fig. 1) – in the hope that this case study will provide some parallels with your individual experiences as researchers, whether working with male and/or female subjects; some reflections on the recently launched Mackintosh Architecture research website; and finally some general remarks on future directions for research. What emerges is the significance of context and individuals; the catalyst of curators and exhibitions; the gradual transference of Mackintosh's artistic legacy into the public domain; and, for Mackintosh at least, the central role of one institution, the University of Glasgow. In 1996, Alan Crawford divided Mackintosh's 'life after death' into three phases which comprised Mackintosh and the Architects, the Enthusiasts, and the Market.1 The trajectory of the scholarly presentation of Mackintosh’s work can, I believe, be divided into five broad phases, though of course at times these overlap: 1. -
Discoverscotland's Most Influential
1–31 OCT 2016 www.glasgowmackintosh.com Discover Scotland’s most influential creative figure A Charles Rennie Mackintosh The Mackintosh Festival is organised 1868–1928. by members of Glasgow Mackintosh: Architect. Artist. Designer. Icon. Kelvingrove Art Gallery & Museum The work of the Scottish architect, designer Scotland Street School Museum and artist, Charles Rennie Mackintosh is today The Glasgow School of Art celebrated internationally. Mackintosh was one Charles Rennie Mackintosh Society of the most sophisticated exponents of the House for An Art Lover theory of the room as a work of art, and created The Hunterian distinctive furniture of great formal elegance. In The Hill House Glasgow, you will see the finest examples of his The Lighthouse buildings and interiors and examples of his creative The Glasgow Art Club collaborations with his wife, the accomplished Glasgow Museums Resource Centre (GMRC) artist and designer Margaret Macdonald. Mackintosh Queen’s Cross Special thanks to our partners: GBPT Doors Open Day Glasgow Women’s Library The Willow Tea Rooms The Glad Café Glasgow City Marketing Bureau Glasgow Restaurateurs Association Welcome to the fifth Mackintosh Festival Glasgow Mackintosh is delighted to present another month-long programme of over 40 arts and cultural events to celebrate the life of Charles Rennie Mackintosh, Glasgow’s most famous architect, designer and artist. This year we are celebrating House – where you can celebrate installation of Kathy Hinde’s the 2016 Year of Innovation, their 20th birthday with kids -
Torrance Herald Irene A
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The Magazine of the Glasgow School of Art Issue 1
Issue 1 The Magazine of The Glasgow School of Art FlOW ISSUE 1 Cover Image: The library corridor, Mackintosh Building, photo: Sharon McPake >BRIEFING Funding increase We√come Research at the GSA has received a welcome cash boost thanks to a rise in Welcome to the first issue of Flow, the magazine of The Glasgow School of Art. funding from the Scottish Higher Education Funding In this issue, Ruth Wishart talks to Professor Seona Reid about the changes and Council (SHEFC).The research challenges ahead for Scotland’s leading art school. This theme is continued by grant has risen from £365,000 to £1.3million, as a result Simon Paterson, GSA Chairman, in his interview Looking to the Future which of the Research Assessment outlines the exciting plans the School has to transform its campus into a Exercise carried out in 2001. world-class learning environment. President’s dinner A dinner to encourage Creating a world-class environment for teaching and research is essential if potential ambassadors for the GSA was held in the the GSA is to continue to contribute to Scotland, the UK and beyond. Every Mackintosh Library by Lord year 300 students graduate from the GSA and Heather Walton talks to some Macfarlane of Bearsden, the School’s Honorary President. of them about the role the GSA plays in the cultural, social and economic life In his after dinner speech, Lord of the nation. One such graduate is the artist Ken Currie, recently appointed Wilson of Tillyorn, the recently appointed Chairman of the Visiting Professor within the School of Fine Art, interviewed here by Susannah National Museums of Scotland, Thompson. -
Boudoir & Fine Art Photography: the Intersection of Fun & Seduction
Boudoir & Fine Art Photography: The Intersection of Fun & Seduction A Guide for First Time Clients and Veteran Boudies Monumental Arts Professional Fine Art Photography Boudoir & Fine Art Photography: Introduction So you are thinking about a Boudoir & Fine Art photography session – how exciting! But what is a boudoir & Fine Art session? Sounds simple – it’s just a sexy portrait session, right? Yes, no, and maybe, all at once! Boudoir is a unique and intimate style of photography – and whether you're looking for a romantic, glamour, pin-up, or fantasy session, it takes a big step to jump right in. Boudoir photography is a broad genre of photography that involves female subjects in sensual and suggestive poses. It is distinct from erotic photography in its emphasis on the aesthetic qualities of the subject and the craftsmanship of the photographic process over the sexually stimulating nature of the image. So, whether you are a veteran in front of the camera or brand new to the role, there are some things you should know about Boudoir & Fine Art photography. Tasteful, Private, and Confidential Sessions One of the top questions I’m asked regarding boudoir is “will these be online”? I have photographed over 300 boudoir sessions since I started in 2012 – most are completely private and are never seen online. In other words, if you don’t want your images shown on my website as examples, they never will be! I guarantee “Tasteful, Private, and Confidential Sessions!” Boudoir & Fine Art Styles Boudoir: Boudoir, as mentioned above, typically involves female subjects in sensual and suggestive poses. -
Troisième Classe Grise Brutal Glasgow- Brutal Edinburgh Fevrier 2017
Glasgow, Red Road Flats, 1969 BURNING SCOTLAND TROISIÈME CLASSE GRISE BRUTAL GLASGOW- BRUTAL EDINBURGH FEVRIER 2017 1 Gillespie Kidd & Coia, St Peter’s College, Cardross, 1959-1966 (ruins) ******************************* Barry Gasson & John Meunier with Brit Andreson, Burrell Collection, Glasgow, 1978–83 ******************************* Covell Matthews & Partners Empire House, Glasgow, 1962-1965 ******************************* 2 W. N. W. Ramsay, Queen Margaret Hall, University of Glasgow, 1960-1964 ******************************* T. P. Bennett & Son, British Linen Bank, Glasgow, 1966-1972 ******************************* 3 Wylie Shanks & Partners, Dental Hospital & School, Glasgow, 1962-1970 ******************************* W. N. W. Ramsay Dalrymple Hall, University of Glasgow, 1960-1965 ******************************* 4 Irvine Development Corporation, Irvine Centre, 1960-1976 ******************************* William Whitfield & Partners, University of Glasgow Library, 1963-1968 ******************************* Keppie Henderson & Partners, University of Glasgow - Rankine Building, 1964-1969 ******************************* 5 David Harvey Alex Scott & Associates, Adam Smith Building, University of Glasgow, 1967 ******************************* Scott Brownrigg & Turner, Grosvenor Lane Housing, Glasgow, 1972 ******************************* Keppie Henderson & Partners, Student Amenity Building, University of Glasgow, 1965 (Demolished: 2013 ?) ******************************* 6 Keppie Henderson & Partners, Henry Wood Building, Jordanhill, Glasgow, -
Spring 2016 Journal
JOURNALISSUE 100 | SPRING 2016 JOURNAL SPriNG 2016 ISSUE 100 3 Welcome Stuart Robertson, Director, Charles Rennie Mackintosh Society. 4 Mining for Information The Glasgow School of Art archives are being scrutinised to inform the restoration of the Mackintosh Building. 5 The Willow Tea Rooms Trust The latest updates on the Trust’s plans to restore this iconic building. 6 Mackintosh’s student career at Glasgow School of Art 4 Dr George Rawson, explores the career of Charles Rennie Mackintosh as a student at Glasgow School of Art. 14 Would George be proud? Elisabeth Viguie Culshaw provides an insight into the rebirth of George Walton’s Ault Wharrie. 20 Designing for industry – Mackintosh and textiles Richard Emerson examines Mackintosh’s success as a textile designer. 25 The Architect and the Dancer – part 2 Richard Emerson’s research continues to unearth more 14 information about Mackintosh’s last years. 27 From small acorns – Mackintosh in France 2003 to present Robin Crichton, Chair of L’Association Charles Rennie Mackintosh – the French affiliate of the Mackintosh Society takes a look back at his initiatives and achievements in the South of France. 30 Interview with Andy MacMillan The late Andy Macmillan on Mackintosh, the Society and studying at the Glasgow School of Art. 31 Obituaries 20 Tributes to Filippi Alison and Gareth Hoskins. Above right, top: © Stuart Robertson Front cover: Blue Heart Window, Middle: © John Cowie Queen’s Cross Church. Bottom: © New York Public Library Image: © Stuart Robertson digital collections 2 | CRM Society Journal 100 | Spring 2016 CHARLES RENNIE MACKINTOSH SOCIETY Welcome Mackintosh Queen’s Cross 870 Garscube Road, Glasgow, G20 7EL Since the last Journal the Society has made some great improvements to the facilities Tel: 0141 946 6600 at Mackintosh Queen’s Cross, thanks primarily to the funding from The Monument Trust Email: [email protected] and the Pilgrim Trust. -
Charles Rennie Mackintosh in Glasgow
Charles Rennie Mackintosh In Glasgow Travel This tour starts and finishes at the Hilton Grosvenor Hotel, Glasgow. 1-9 Grosvenor Terrace, Glasgow, G12 0TA Tel: 0141 339 8811 Please note that transport to the hotel is not included in the price of the tour. Transport If you are travelling by car: The Hilton Glasgow Grosvenor is located 5 minutes from the M8 motorway and 5 minutes’ walk from Hillhead subway station. The hotel is situated on the corner of the junction between Byres Road and Great Western Road. On arrival, directly after the hotel turn right, into the lane between the Hilton and Waitrose. Stop at the hotel entrance and get a car park ticket from reception. Finally, drive up the ramp of the Waitrose car park on the left, and keep on going until the top level, which is reserved for hotel guests and the residents of the adjoining flats. Parking is £10 per day, payable locally. If you are travelling by train: The nearest subway stop is Hillhead, which is about a 5 minute walk away on Byres Road. Glasgow Central Station is about 15 minutes by taxi to the hotel. Accommodation The Hilton Grosvenor Hotel The Hilton Grosvenor Hotel is a traditional four-star hotel in the vibrant West End area of the city centre. It is ideally situated in close proximity to the array of locations visited during your tour including the Hunterian Gallery and University. Bedrooms are equipped with all necessities to ensure a relaxing and enjoyable visit, including an en-suite bathroom with bath/shower, TV, telephone, Wi-Fi, hairdryer and complimentary tea/coffee making facilities. -
Chapter 14: Lavender Sweep Area
Draft CHAPTER 14 Lavender Sweep Area Lavender Sweep today presents as countless other Battersea streets of three-up, three-down terraced houses of the 1880s. Its origins, though, lie a century earlier, its distinctive crescent layout the creation of Peter James Bennett, a developer of the 1780s. Though the five rus-in-urbe villas he built there have gone, the outlines of their spacious grounds between Lavender Hill and Battersea Rise, running west to St John’s Road and east to Lavender Walk, can still be traced in the streets laid out by his Victorian successors. Immediately east of Bennett’s estate were two even larger villas, begun in the 1770s on another landholding: West Lodge (also demolished) and the Shrubbery, the only one of this area’s old houses to survive. From the 1860s they too lost their long gardens to denser housing. These Georgian estates and their subsequent redevelopment form the subject of this chapter (Ills 14.1, 2). Altenburg Gardens, the first of the speculative builders’ houses to go up, in the 1860s, perhaps enhanced the old-world charm of the earlier villas and their wealthy mercantile owners as much as they threatened it. They were very large suburban dwellings in a classical style, aimed at a high class of tenant, in an area still noted for its sylvan character. But behind this advance guard a very different and breathless wave of development came in the 1880s—dense terraces aimed at the lower-middle and working classes. Only the double-fronted houses of Lavender Gardens, built in the grounds of the Shrubbery, suggested any social ambition. -
Guide to International Decorative Art Styles Displayed at Kirkland Museum
1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops. -
The Willow Tea Rooms Trust
O-032-17 TRADE MARKS ACT 1994 IN THE MATTER OF APPLICATION 3105102 BY THE WILLOW TEA ROOMS TRUST FOR THE TRADE MARK THE WILLOW TEA ROOMS AND THE OPPOSITION THERETO UNDER NUMBER 405148 BY ANNE MULHERN Background 1. The Willow Tea Rooms Trust (“the applicant”) applied for the trade mark THE WILLOW TEA ROOMS on 22 April 2015 in classes 35, 41, 42 and 43. 2. The application was accepted and published in the Trade Marks Journal for opposition purposes on 26 June 2015. Anne Mulhern opposes the trade mark application under sections 5(2)(b), 5(3) and 5(4)(a) of the Trade Marks Act (“the Act”). For sections 5(2)(b) and 5(3), Ms Mulhern relies upon two earlier trade mark registrations which she owns, as follows: (i) 1276805 (series of 2 marks) Class 42: Restaurant, tea room, catering and cafe services; all included in Class 42; but not including any of the aforesaid services relating to the provision of alcoholic drinks. Filing date: 1 October 1986; date registration procedure completed: 12 July 1991 (ii) 2251332A (series of 8 marks): Page 2 of 73 Goods and services in classes 9, 11, 16, 20, 21, 24, 30 and 43. Filing date: 3 November 2000; date registration procedure completed: 8 March 2002. 3. Ms Mulhern’s claim under section 5(2)(b) is that there exists a likelihood of confusion owing to the similarities/identity between the marks and the goods/services. Under section 5(3) of the Act, Ms Mulhern claims that the earlier marks have a reputation in certain goods and services such that use of the application without due cause would take unfair advantage of, or be detrimental to, the distinctive character or the repute of the earlier marks.