The Magazine of the Glasgow School of Art Issue 10
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Newsletter Contents 07-08
Newsletter No 28 Summer/Autumn 2008 He is currently working on a book on the nineteenth- From the Chair century travel photographer Baron Raimund von Stillfried. Welcome to the first of our new shorter-but- hopefully-more-frequent newsletters! The main casualty has been the listings section, which is no New SSAH Grant Scheme longer included. Apologies to those of you who found this useful but it takes absolutely ages to compile and As you’ll know from last issue, we recently launched a the information should all be readily available scheme offering research support grants from £50 to elsewhere. Otherwise you should still find the same £300 to assist with research costs and travel mix of SSAH news and general features – if you have expenses. We’re delighted to say that several any comments on the newsletter or would like to applications have already been received and so far we contribute to future issues, please let us know! have awarded five grants to researchers from around Now, let’s waste no more time and get on the world. Here we present the first two reports with the latest news… from grant recipients on how the money has been Matthew Jarron spent. Committee News Gabriel Montua, Humboldt-Universität Berlin, Germany As promised last issue, we present a profile of our newest committee member: The generous SSAH grant of £206.96 enabled me to cover my travel expanses to the Scottish National Luke Gartlan Gallery of Modern Art in Edinburgh, where I consulted item GMA A42/1/GKA008 from the Luke is a lecturer in the School of Art History at the Gabrielle Keiller Collection: letters exchanged University of St Andrews, where he currently teaches between Salvador Dalí and André Breton. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
The Glasgow Academy WW1 Roll of Honour
The Glasgow Academy WW1 Roll of Honour From the onset of the First World War in 1914 until 1918, the Glasgow Academy suffered a great many losses during the conflict. In fact, it is believed there was a higher number of losses incurred when compared to other independent schools of the time. The following is a list of the former pupils who were casualties and as far as we have been able to, includes information and photographs to tell the stories of these men. In some case, we have little or no information about some of these individuals, so please get in touch if you have anything which could help us fill in the gaps and help us tell their stories. Email: [email protected] 1 Lt William M Alexander Biography Remembered on the Roll of Honour in Dundee , William lived in Broughty Ferry before the War. Highland Light 8th March 1892-12th Son of John and His brother, Ronald served as a Lieutenant Infantry Oct 1918 Mayflower with the Royal Field Artillery during the Alexander, of 2, Age 26 Great War. Smith St., Hillhead, Glasgow, West 2 Private George W Allan* Biography According to his father, Reverend Charles Allan, his son was 'mentioned in officers' letters for bravery. Going to the help of wounded comrades and was said Highland Light 31st August 1894- 17th Son of the Rev. by his own comrades to have earned the Infantry April 1915 Charles Allan, M.A., Victoria Cross "half a dozen times over"'. and Margaret Allan, He was awarded the 1914 Star Age :21 of Duneira, Greenock posthumously 3 Lieutenant Ramsay Allan Biography Ramsay was an only son. -
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. -
Scotland Street Public School
M233 Scotland Street Public School Introduction This three-storey school was built by the School Board of Glasgow to serve a densely populated part of Tradeston, just S. of the River Clyde. Some features show the influence of historic Scottish architecture, but the design is remarkable for its novel reinterpretation of tradition, especially in the glazed towers that light the stairs. The boundary wall with its gates and railings and the janitor's house at the N.W. corner of the site were part of the original scheme. Closed as a school due to demolition of the surrounding housing, the building reopened as a museum of education in November 1990. Authorship: Mackintosh is named as architect in official correspondence from the School Board, and in other contemporary sources. Scotland Street School was one of his most important commissions. Cost from job book: £18,597 2s 6½d Cost from other sources: The final measurements of £19,171 8s 1d plus other expenses of £1370 0s 6d gave a total of £20,541 12s 6d. 1 Status: Standing building Current name: Scotland Street School Museum Current use: Museum of Education (2014) Listing category: A Historic Scotland/HB Number: 33534 RCAHMS Site Number: NS56SE 328.01 Grid reference: NS 57752 64142 Chronology 1903 27 April: Purchase of ground for new school in Tradeston. 1 22 June: Mackintosh appointed architect (but official letter of appointment not written until 21 August). 2 2 November: First drawings submitted to The School Board of Glasgow. Modifications requested. 3 1904 January: First set of drawings for school and janitor's house made for submission to Glasgow Dean of Guild Court. -
Govanhill International Festival & Carnival
Programme music books walks talks film photography & More! Govanhill International Festival & Carnival 2nd – 15th August 2021 Delivered by Romano Lav Roma Holocaust The Govanhill International Festival and Carnival is back: bigger, brighter and bolder than ever before! MondayMemorial 02 August, 2:00 to Day3:00pm Now in its fifth year, the festival began in 2016 as an antidote to racism towards migrant Queen’s Park Poetry Rose Garden communities from Eastern Europe in Govanhill. It started as a carnival, parade and weekend On August 2nd 1944 nearly 4,000 Roma and Sinti of music, aiming to celebrate the diversity of the area and combat division and hate. It has women, men and children were murdered in the since grown into a beautiful, two week extravaganza, embodying the richness and diversity of gas chambers of Auschwitz-Birkenau. Seventy- the flourishing arts and culture scene in Govanhill. This programme features over fifty events one years later, August 2nd was officially declared - including talks, music, workshops, film, exhibitions, theatre, heritage events and guided walks “Roma Holocaust Memorial Day” internationally. - and even more can be found on our online programme at www.govanhillbaths.com. We’re also With racism on the rise globally, it has never been overjoyed to welcome back our Carnival and Parade after its hiatus in 2020, and thrilled to bring more important to remember the atrocities of the past to ensure that they can never, ever happen back our Street Music Festival after its resounding popularity last year. again. Join Romano Lav for speeches, music and remembrance around our memorial that is dedicated Safety is still paramount, and all events will adhere to Covid-19 government guidelines. -
William Crosbie Centenary Exhibition
WILLIAM CROSBIE Centenary Exhibition WILLIAM CROSBIE (1915-1999) Centenary Exhibition 7 - 31 JANUARY 2015 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Front cover: Music of Living - Monkey and Nude, 1988, oil on board, 71 x 91.4 cms, cat. 33 Left: Self Portrait, 1956, oil on board, 60.3 x 43.1 cms, cat. 11 2 INTRODUCTION There are many Scottish painters who have made a mark on our culture and consciousness in the last century and it is tempting to try to attach each to a school or movement. The artist has a habit of resisting any attempt at taxonomy however, wriggling free from the entomologist’s chloroform bottle and display pin, to be unruly, unpredictable and provide no favours for the art historian. Yes, we had The Glasgow Boys, a coherent group of realist painters before the beginning of the 20th Century. And then came The Scottish Colourists, our first modernists, who certainly exhibited as a group and can be understood as British post-impressionists. In the post-War years the choice seemed to be to stay in Scotland under the wing of your Art College or move to the South, like Colquhoun and MacBryde, Alan Davie, William Gear and W. Barns-Graham. Of course the complex reality denies a simple telling; for every adherent there is an opponent and many of the most powerful and individual painters of the period like James Cowie or Joan Eardley neither left nor taught in Glasgow or Edinburgh. -
The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh
This is a repository copy of The internal environment of the Glasgow School of Art by Charles Rennie Mackintosh. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/91217/ Version: Accepted Version Article: Lawrence, R. The internal environment of the Glasgow School of Art by Charles Rennie Mackintosh. Construction History, International Journal of the Construction History Society, 29 (1). 99 - 127. ISSN 0267-7768 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh Ranald Lawrence University of Cambridge Abstract This paper discusses the Glasgow School of Art in the context of the wider history of the Victorian art school as a distinctive building type. -
14 Kingsborough Gardens and the Patronage of the Rowat Family., Charles Rennie Mackintosh Society Journal, NO.98; SPR 2014 Pp
Jackson, Stephen (2013) 14 Kingsborough Gardens and the Patronage of the Rowat Family., Charles Rennie Mackintosh Society Journal, NO.98; SPR 2014 pp. 16-20. 0141-559X http://repository.nms.ac.uk/1088 Deposited on: 2 July 2014 NMS Repository – Research publications by staff of the National Museums Scotland http://repository.nms.ac.uk/ 14 ~in~soorou~n bardens 14 Kingsborough Gardens and the Patronage This correction of detail is more interesting than it might of the Rowat Family at first appear. Mackintosh's personal client base included a quite disparate range of people, whose attachment to new Stephen Jackson artistic trends varied in extent and commitment. A previous contribution to the Society's Newsletter has Robert James Rowat bought the house at Kingsborough described how three lamps designed by Mackintosh for 14 Gardens in 1902 and Mackintosh's work involved decoration Kingsborough Gardens, Glasgow, were conserved for the of the hall, the drawing room, and a bedroom for the Rowat's reopening of the National Museum of Scotland in 2011. 1 This only child, Maud Iso bel. Although the design work was article aims to shed light on the patrons behind the original recorded in the Honeyman, Keppie and Mackintosh account commission. Standard Mackintosh t~xts describe the client books, carried forward without payment between 1902 and as Mrs Rowat, identifying her as Pra Newbery's mother 1905, t.he tradesmen's accounts do not feature in the firm's in-law. However, Jessie Newbery's mother died folloWing job books. Roger Billcliffe has, however, traced some of the the birth of her fourth child in 1873, when Jessie was just design drawings and most of the items themselves, dispersed nine years 01d. -
EIGHT ARTISTS CATALOGUE 6 July 2015.Pdf
THE LEMOND GALLERY SCOTTISH CONTEMPORARY ART AN EXAMINATION OF EIGHT ARTISTS FROM TWO CRITICAL PHASES OF SCOTTISH ART TRAINING TWO WEEKS - Saturday 18th July to Sunday 2nd August 2015 CONTEMPORARY SCOTTISH ART AN EXAMINATION OF EIGHT ARTISTS FROM TWO CRITICAL PHASES OF SCOTTISH ART TRAINING BACKGROUND It is somewhat logical that, as we look at the Contemporary Scottish Art offering, we should find the roots of what we are looking at within the key Scottish educational establishments. As Scotland prospered from its dominant position within the industrial revolution (1760-1840) and the wealthy Victorian era (1837-1901), patronage and interest in the arts expanded and new art schools emerged in all of the main population centres – the Glasgow School of Art (GSA) 1845, the Edinburgh College of Art (ECA) which can trace its development to 1760, formed the current institution in 1906, Duncan of Jordanstone College of Art, Dundee (DOJD) 1892 and lastly Gray’s School of Art, Aberdeen (GSAA) 1885. These institutions, together with the formation of the various artist bodies incorporated by Royal Charter including the Royal Scottish Academy (RSA 1826), the Royal Glasgow Institute (RGI 1861) and the Royal Scottish Society of Painters in Watercolour (RSW 1876) together with the Paisley Art Institute (PAI 1876) would underpin the central foundations of subsequent art development in Scotland. Scottish Art history records two significant periods of art development in this period – the social realism of the Glasgow Boys (1870-1910) and the Scottish Colourists (c.1920-1940), whose popular idiom embraced the earlier work of the French impressionists and post-impressionists. -
32 Years of Glasgow School of Art Exhibitions 1988 - Present Day
32 years of Glasgow School of Art Exhibitions 1988 - present day 1988 1. ‘Glasgow Girls: Women at the Art School 1880-1920’, 15 July – 31 Aug 1988, Mackintosh Museum. Curated by Jude Burkhauser. ‘...an exhibition showcasing the work of The Glasgow Girls held in The Mackintosh Museum at The Glasgow School of Art. The exhibition ran from the 15th of July to the 31st of August 1988 and was the precursor for a larger Glasgow Girls exhibition that would be shown two years later [at Kelvingrove Museum]. This particular exhibition was curated by Jude Burkhauser who went on to write a full PhD on The Glasgow Girls.’ GSA Archives catalogue entry GSAA/EPH/10/43. 1989 1. Soviet Season: Academic Tradition, 28 Oct-2 Dec 1989. Newbery Gallery. External curator: Galina Kargopolova. ‘Work from three leading Soviet Art Schools.’ 1990 1. Hannah Frew Paterson Embroidery Retrospective 1963-1990, 12 April – 5 May, Newbery gallery. GSA Archives: catalogue, poster. This show marked her retirement from GSA. 2. ‘V: Five Years of Photography in Fine Art at GSA 1985-1990’, 10-24 March 1990, Mackintosh Museum and Newbery Gallery. GSA Archives: poster and press release. 3. ‘Artwork from IBM’s UK locations’, 4 May – 2 June 1990, Mackintosh Museum. An exhibition curated by Clare Henry (includes Gilbert & George) 4. A series of Glasgow 1990 events. ‘Passing Out’, 24 Aug-15 Sept – an exhibition of UK silversmith & Jewellery depts. GSA Archives: catalogue. 5. ‘View from the inside’, exhibition of art from Scottish Prisons, 6 Oct – 3 Nov, Newbery Gallery 6. ‘Contemporary Visions’, exhibition of architects responding to Mackintosh architecture, 9-31 Aug 1990. -
A C C Jj P T Iiid
ACCjJPTiiiD FACULTY OF GRAHUATF qTnn,r?HE "NEW WOMAN" IN FIN-DE-SIECLE ART: tS FRANCES AND MARGARET MACDONALD by 1ATF _______________' i2 Janice Valerie Helland ~ --- ------ B.A., University of Lethbridge, 1973 M.A., University of Victoria, 1984 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY : in the Department of History in Art We accept this thesis as conforming to the required standard _________________ Dr. Ej^Tumasonis, Supervisor (Department of History in Art) Dr. J. Osborne, Departmental Member (Department of History in Art) Dr. A. Wel<gj)^*DepartmentaI Member (Department of Histor^in Art) Dr. A. McLa^fen, Outside Member (Department of History) _________________________________________ Dr. A. Fontaine, Outgj.de Member (Department of Biology) ________________________________________ Dr. B./Elliott, External Examiner (University of Alberta) ® JANICE VALERIE HELLAND, 1991 University of Victoria All rights reserved. Thesis may not be reproduced in whole or in part, by mimeograph or other means, without the permission of the author. 11 Supervisor: Dr. E, Turoasonis ABSTRACT Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland's answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siècle. they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female exper,i*nce and that they must be understood as such if we, as historians, are to discuss their art.