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Om Konstnärsparet Charles Rennie Mackintosh Och Margaret Macdonald

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Om Konstnärsparet Charles Rennie Mackintosh Och Margaret Macdonald Rummet som konstverk - om konstnärsparet Charles Rennie Mackintosh och Margaret Macdonald Akademisk avhandling som för erhållande av filosofie doktorsexamen offentligen framläggs för granskning i Folkuniversitetets Aula, Nygatan 43, Umeå fredagen den 11 april 2003 kl 10.15 av Ann-Catrine Eriksson The Room as a Work of Art: On Charles Rennie Mackintosh and Margaret Macdonald, Artists and Spouses Ann-Catrine Eriksson, Dep of History and Theory of Art, Umeå University, SE-901 87 Umeå, Sweden Umeå Studies in History and Theory of Art 5, ISSN 1404-8949 ISBN 91-7305-415-1 Abstract The present dissertation deals with the artistic collaboration of a married couple, Charles Rennie Mackintosh and Margaret Macdonald. Living in Glasgow at the turn of the century, they concentrated their work on interior design. However, artistic collaboration has been neglected by traditional art history, with its concentration on individual creativity. For the couple in question, this has meant that the work they created together has been mainly attributed to Mackintosh, thereby relegating Mac­ donald to the role of spouse and assistant, rather than co-creator. The present disser­ tation presents a different picture of the couple's collaboration, challenging and revi­ sing our cultural perceptions about the creative abilities of the respective sexes. A selection of interiors created by the Mackintoshes is studied in order to shed light on their collaborative efforts. The analyses embark from the perspectives of «masculine» and «feminine» in order to show how the Mackintoshes created artistic wholeness in their interiors, while at the same time opening up the spaces for a mixture of actors, i.e. making the rooms accessible to men and women alike through their designs. During this epoch, the concepts of «masculine» and «feminine» were employed as natural points of reference in an attempt to explain social and cultural phenomena scientifically. The Mackintoshes made use of the era's conventions when creating interiors in the accepted division of masculine (hallways, dining rooms, libraries) and feminine (bedrooms, salons) spaces. However, with time they began to combine these accepted gender forms in order to create something new and modern. Just as the Mackintoshes could create more powerful works of art by combining their respective artistic talents, their spaces could accrue greater significance through the combination of masculine and feminine principles. Keywords: Charles Rennie Mackintosh, Margaret Macdonald, interior design, art nouveau, gender studies, Hill House, Willow Tea Rooms, Rose Boudoir, Glasgow Rummet som konstverk Grafisk form och omslag: rs Tryck: NRA Repro, Umeå, 2003 Umeå Studies in History and Theory of Art 5 ISSN 1404-8949 ISBN 91-7305-415-I © Ann-Catrine Eriksson, Institutionen för konstvetenskap, Umeå universitet, SE-901 87 Umeå, Sweden Rummet som konstverk - om konstnärsparet Charles Rennte Mackintosh och Margaret Macdonala Ann-Catrine Eriksson *c/> * Institutionen för konstvetenskap Umeå universitet UMEÅ STUDIES IN HISTORY AND THEORY OF ART 1. Pettersson, Lennart Konstnärsgillet: Konstliv och föreningsväsende vid mitten av i8oo-talety 2000. 2. Björkman, Anders Form Rörelse Ljus: En studie över Johannes Olivegrens kyrko arkitektur, 2001. 3. Burman, Kristi Paul Burman. Living and Existential Space, 2002. 4. Rasch, Elisabeth Emile Bernard (1868-1941): Mot strömmen och åter till källorna En studie av ett konstnärsskap mellan förnyelse och tradition, 2002. In nehàllsfòrtecknìng Förord y Inledning 9 DISPOSITION II MATERIALET 12 MODELLER OCH METODER 15 KONSTNÄRSPAR 15 MASKULINT-FEMININT 16 SAMARBETET 18 FORSKNINGSÖVERSIKT 19 1. Staden, stilen, utbildningen och konstnärerna 25 STADEN GLASGOW . 25 THE GLASGOW STYLE 30 INSPIRATION OCH FÖREBILDER 33 LANSERINGEN AV GLASGOW STYLE 40 KRITIKEN 42 GLASGOW SCHOOL OF ART 46 FRANCIS HERBERT NEWBERY OCH JESSIE ROWAT NEWBERY 48 THE MAGAZINE 53 THE FOUR 55 CHARLES RENNIE MACKINTOSH OCH MARGARET MACDONALD 58 2. Interiörerna 67 INTERIÖREN SOM KONSTVERK 67 HEM OCH OFFENTLIGHET JO MASKULINA OCH FEMININA RUM 71 PARET MACKINTOSH OCH INTERIÖRS KON ST 74 INTERIÖRERNA 78 HILL HOUSE 79 THE ROSE BOUDOIR 102 WILLOW TEA ROOMS HI INTERIÖREN SOM KONSTVERK - FÖR VEM? 133 3. Konstnärsparet Charles Rennie Mackintosh och Margaret Macdonald 137 KONSTNÄRSPAR 137 KÖNSROLLER OCH KREATIVITET 139 BEDÖMNINGEN AV PARET MACKINTOSHS SAMARBETE 142 PARET MACKINTOSHS KREATIVA RUM 146 Summary 159 Noter 164 Källförteckning 188 Bildförteckning 195 Förord Om du alltså inte får veta något mer om detta rike så hitta på. Observera att jag inte ber dig att vittna om sådant som du anser vara osant, för det skulle vara en synd, utan vittna falskt om det som du tror är sant — för det är en dygdig gärning eftersom den fyller ut bristen på bevis när det gäller något som med säkerhet existerar eller har inträffat. (Umberto Eco, Baudolino, Stockholm 2001,s. 54) Forskning kan vara besvärligt. Du sitter inne med en bra sanning, men du måste bevisa den. Helst genom arkivmaterial, i annat fall genom att någon annan skrivit någonting liknande. Verkligheten ser inte alltid sådan ut. En vanlig förklaring till detta för den som arbetar med genusforskning är att varken arkivansvariga eller andra forskare har ställt samma frågor och haft samma intressen som du, varför viktigt material inte har uppmärksammats eller kanske inte finns bevarat. Vad gör man då? Hittar på? Nja, det får man inte - inte ens om du tror att det är sanning. Istället får man uppmärksamma bristerna och fylla i dem med annat material som i bästa fall övertygar andra om din sanning. Det är vad jag har fått göra under fyra år och för detta är jag tacksam. Avhandlingsskrivande är inte en alldeles ensam sysselsättning, även om slutproduk­ ten måste vara din egen. Resultat uppnås bäst genom dialog med andra. Först och främst med handledare, som i mitt fall har varit Roland Spolander och Brit-Marie Andrén. Brit-Marie var den som såg till att jag överhuvudtaget tänkte tanken att börja forskar­ utbildningen och Roland var den som tog mig igenom den. Därutöver vill jag tacka alla kollegor och vänner som deltagit i mina avhandlingseminarier och på andra sätt fört mitt arbete framåt. Jag har också haft förmånen att få besöka för mig aktuella arkiv i Glasgow. Därför vill jag tacka Pamela Robertson och hennes medarbetare vid Hunterian Art Gallery, samt tidigare arkivarien vid Glasgow School of Art, Clare McGread, för ovärderlig hjälp under mina forskningsresor. Medel till resorna har jag erhållit från Stiftelsen Lars Hiertas Minne, Internationaliseringsmedel från humanistiska fakulteten, Umeå Universitet och JC Kempes Minnes Stipendiefond, Umeå Studentkår. Avslutningsvis vill jag tacka min familj för allt stöd, samt min bäste och värste kritiker Richard för allt, främst för att du vill leva med mig. Umeå, mars 2003 Ann-Catrine Eriksson Inledning But I do agree that the mans whole work should be shown. On the other hand the effect of (I now admit necessary) inclusion of Mrs Mackintosh's «art-work» may be rather like an exhibition devoted to the work of a hardly remembered, or even known, contemporary of his to fill up space. These are not my views simply (for personal views have no importance in such matters) but those of the whole body of international post-war architectural criticism. They do not make any «distinction» between husband and wife; they simply do not consider there was a «wife» in that sense.1 itatet är hämtat ur ett brev från konstkritikern P Morton Shand till paret Mackintoshs vän och mecenat William Davidson. Det skrevs i samband med Catt Davidson skulle sammanställa en retrospektiv utställning av paret Mackintoshs konstnärliga verksamhet 1933. Margaret Macdonald hade just avlidit i Lon­ don, fem år tidigare hade Charles Rennie Mackintosh lämnat jordelivet, och Macdo­ nald hade testamenterat allt kvarvarande konstnärligt material till Davidson. Sedan ti­ digare hade han fått ansvaret för paret Mackintoshs hem i Glasgow, som de lämnade 1914. Shand och Davidson diskuterade i en brevväxling Macdonalds del i denna min­ nesutställning, där Davidson försvarade hennes närvaro och Shand helst ville att Mackintosh skulle framträda ensam - och endast som arkitekt. Här börjar den konst­ historieskrivning kring Charles Rennie Mackintosh och Margaret Macdonald som skiljer deras konstnärliga gärning åt och huvudsakligen ägnar Mackintosh uppmärksamhet på bekostnad av Macdonald. I föreliggande arbete vill jag belysa ett samarbetande konstnärspar, något som tradi­ tionellt betraktats som en anomali inom ämnet konstvetenskap eftersom det bakom konstnärligt arbete endast finns plats för en konstnär. Den konstnären är oftast av manligt kön och tillskrivs egenskaper som »originalitet, individualitet, geni och innovation«.2 Vid mina studier av ett konstnärspar som gemensamt skapade konstverk har frågor som rör det kvinnliga konstnärskapet tagit relativt stor plats, eftersom det spelar en roll för för­ ståelsen av konstnärsparet. Mannens roll har tidigare tagits för given, medan kvinnans roll inte är lika självklar. Föreställningar om kvinnligt konstnärskap, konstnärshustrur och kvinnor i allmänhet har betydelse när vi studerar ett konstnärligt samarbete mellan man och hustru. Det är avvikt att presentera alternativa läsningar av konstnärskap och konstverk för att ge större förståelse för konstnärlig verksamhet och för att få en konst­ syn som är mer jämställd. INLEDNING I 9 Charles Rennie Mackintosh och Margaret Macdonald skapade offentliga interiörer i framför allt Glasgow, men även åt privata beställare
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