Spring 2016 Journal
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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. -
Library Architecture: Some Observations
LIBER QUARTERLY, ISSN 1435-5205 LIBER 2002. All rights reserved K.G. Saur, Munich. Printed in Germany Library Architecture: Some Observations by BERNHARD FABIAN I To begin with, I am not a librarian, and I am not an expert on library archi- tecture. For the past two decades my role (assigned to me by various libra- rians) has been that of the token user. And it is as a user that I am supposed to speak to you on a subject on which there appears to be more disagreement than one would initially expect. Can the user be helpful as a commentator on the architecture of libraries? Perhaps, perhaps not. As we all know, the „user” comprises a spectrum of readers, all intent on making use of books (or other text-related media) but otherwise dissimilar in their practices and their pursuits. There are occasional users, habitual users and professional users. They may be skilled or incompe- tent, dull or sensitive, naive or sophisticated. In short, the variety is infinite. You will be aware that all of them are selfish creatures. Whatever the dif- ferences between them, users are united by certain expectations. They expect the library to have all the books they require, and they expect the library to make the books they demand instantly available. These expectations cannot be directly related to a specific architectural design or pattern. Reduced to bare essentials, they seem to presuppose no more than a large, technically well-equipped „container”. Users who do their reading in the library (in contrast to those who merely borrow their books from it) have additional expectations. -
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. -
Incorporation of Wrights in Glasgow
HD bMt5 Gfc lb nOO a31 1 8801 1 ^00906b Hi) 6462 G6 16 1900 INCORPORATION OF WRIGHTS IN GLASGOW. INCORPORATION OF ^RtGHTS IN GLASGO«f« ' ' ^^ "'L^"'^X - "'^J^' THE |nc0rp0rati0ii 0f Wr}g|ts |n ^lasgoto. GLASGOW: PRINTED BY JAMES C. ERSKINE & SONS, 140 HOPE STREET. MCM. THE UB'^ARY UNlVER^u. ^. GUELPH Master Court—i8gg-igoo. Deacon. Late Deacon. James Goldie. Alexander Buchan, Collector. Late Collector. H. M'Taggart. D. Buchanan. Masters. Deacon Maben. Deacon Hunter. Deacon FERGUSON. Mr. W. Lightbody, Jun. Mr. Thomas Young. Mr. J. G. Sharp. Mr. A. M'Farlane. Deacon Porter. Mr. J. Keppie. Mr. G. P. M'R. Rome. Trade's Key, Thomas Kay. Deacon's Key, ....A. S. Neilson. Honorary Members. Deacon William Lightbody. Deacon M. Henderson. Deacon Andrew Gray. Representatives in tke Trades' House, \ '"^„^^-kT^J^'^.l^^°^^and Deacon HUNTER. Member of Committee on Hall Buildings—The Deacon. Delegate on Gorbals Lands—Deacon Maben. Director on Education—Mr. W. Lightbody, Jun. Clerk. James A. Reid, 172 St. Vincent Street. Digitized by the Internet Archive in 2013 http://archive.org/details/incorporationofwOOinco ; prefatory IRote. At the Annual Meeting of the Incorporation in 1876, a Committee was appointed to prepare a list of names of all the Members who had entered the Incorporation after the year 1800. Subsequently, in 1880, it was resolved by the Master Court of the day to print this list as well as the "Seal of Cause" and By-Laws; and the opportunity was taken of including in the print a brief record, under the title of "Historical Memoranda," of the more important events in the history of the Incorporation. -
Schedule of Gardens & Designed Landscapes in Inverclyde
GARDENS AND DESIGNED LANDSCAPES LOCATION HES* REFERENCE A Ardgowan Estate GDL00021 D Duchal House GDL00146 F Finlaystone Estate GDL00180 HES* - Historic Environment Scotland Garden and Designed Landscape Site Name: Ardgowan Estate Grid Reference: 220656, 673078 Date Added: 1 July 1987 HES Reference: GDL00021 Amended: 24 June 2015 Description The designed landscape at Ardgowan dates from around 1800 and is a good example of the work of James Ramsay. The parkland, woodland and gardens provide an impressive setting for the category A listed house and make an important contribution to the local scenery. Commanding extensive views over the Firth of Clyde, the mansion sits within late Victorian and Edwardian formal and kitchen gardens in a wider frame of parkland and woodland. Main structure established c1800 with improvements mid/late-19th-century and improvements and additions early-20th-century to present. Importance of Site A site included in the Inventory is assessed for its condition and integrity and for its level of importance. The criteria used are set out in Annex 5 of the Scottish Historic Environment Policy (December 2011). The principles are represented by the following value-based criteria and we have assigned a value for each on a scale ranging from outstanding value to no value. Criteria not applicable to a particular site have been omitted. All sites included in the Inventory are considered to be of national importance. Criteria Value Comments Work of Art Outstanding The designed landscape at Ardgowan has outstanding value as a Work of Art and is an important example of the work of James Ramsay. -
Spring 2018 CELEBRATORY Issue: 150 Years Since the Birth Of
JOURNALISSUE 102 | SPRING 2018 CELEBRATORY ISSUE: 150 yearS SINce THE BIrtH OF CHarleS RENNIE MacKINtoSH, 1868–1928 JOURNAL SPRING 2018 ISSUE 102 3 Welcome Stuart Robertson, Director, Charles Rennie Mackintosh Society 4 Hon President’s Address & Editor’s Note Sir Kenneth Calman & Charlotte Rostek 5 Mackintosh Architecture 1968–2018 Professor Pamela Robertson on future-proofing the protection and promotion of Mackintosh’s built heritage. 9 9 Seeing the Light Liz Davidson gives a progress report on the restoration of The Glasgow School of Art. 12 The Big Box Richard Williams reveals the NTS’s big plans for The Hill House. 14 Mackintosh at the Willow Celia Sinclair shares the latest on the restoration work. 16 Authentic? 14 Michael C. Davis takes a timely look at this topical aspect of building conservation. 19 A Bedroom at Bath Dr Trevor Turpin explores this commission by Mackintosh. 23 An Interview with Roger Billcliffe Stuart Robertson presents Part 1 of his fascinating interview with Roger Billcliffe. 32 The Künstlerpaar: Mackintosh, Macdonald & The Rose Boudoir Dr Robyne Calvert explores love and art in the shared lives of this artistic couple. 23 36 The Mackintosh Novel Karen Grol introduces her biographical novel on Mackintosh. Above, Top: Detail of prototype library bay for GSA. Photo Alan MacAteer Middle: Detail of front signage for 38 Observing Windyhill Mackintosh at the Willow. Ruairidh C. Moir discusses his commission to build a motor garage at Windyhill. Photo Rachel Keenan Photography Bottom: Frances Macdonald, Ill Omen 40 Charles Rennie Mackintosh – Making the Glasgow Style or Girl in the East Wind with Ravens Passing the Moon, 1894, Alison Brown talks about the making of this major exhibition. -
Exploring Identity Through Craftivism Class/Grade 9-12
Exploring Identity Through Craftivism Class/Grade 9-12 Essential Questions: 1. How do the arts reflect values in a culture? 2. What’s the difference between art and craft? 3. What is the role of art in activism? 4. How do the materials we choose reflect our identity? Learning Objectives: Students will be able to: ● Define self-portraiture and craftivism. ● Compare and contrast traditional and contemporary portraiture. ● Understand how artists address social issues through craft. ● Participate in an in-progress critique using the techniques of accountable talk, share ideas, and build on others’ observations. ● Transfer their designs to fabric. ● Create artwork that conveys a message to influence opinion. ● Create a self-portrait design inspired by craftivism. ● Write an artist statement that effectively defends their work. Student Connections Students will be able to connect to the lesson as they will explore identity and the definition of self-portraiture. Assessment Pre-Assessment: Students will answer the following Do-Nows in their sketchbooks at the beginning of each lesson: ● Who are you? What makes you, YOU? ● Provide one example of Craftivism and defend your answer. ● Write down at least 5 steps to make an embroidery. Formative assessment: ● Students will engage in a Think-Pair-Share to analyze Oscar Wilde’s quote on portraiture. ● Students will be polled throughout the lesson on foundational knowledge, opinions, or where they are in their learning. ● Students will work in pairs to complete a Venn diagram comparing and contrasting self-portraiture and craftivism. ● Students will participate in a gallery walk, where they will verbally share thoughts, comments, or questions about their peers’ work. -
The Magazine of the Glasgow School of Art Issue 10
Issue 10 The magazine of The Glasgow School of Art FlOW ISSUE 10 Cover Image: There will be no miracles here, installation view at Mount Stuart. Nathan Coley Photo:Kenneth Hunter >BRIEFING Hot 50 We√come Design Week magazine has put the GSA into its HOT 50 honours list of people and Welcome to Issue 10 of Flow. organisations that have made a significant contribution Nathan Coley’s work, pictured on the front of this issue of Flow, makes a bold declaration – There to design. will be no miracles here. However, the word miracle is derived from the Latin word miraculum The magazine describes the GSA as a leader in the meaning ‘something wonderful’ and had we commissioned Nathan to produce a similar piece of field of design education and work for the School, he could have boldly declared There are miracles here – there is ‘something commends the School for wonderful’ here. engaging in ‘socially relevant design rather that just creating We try to share the ‘something wonderful’ that is The Glasgow School of Art in every issue of Flow a product’. and this issue is no different, sharing with you the successes and achievements of our students, SIE Success for Red Button alumni and staff, but also some of the challenges that the School is facing and the creative ways For the fourth year in succession, in which we are addressing them. This issue looks at scholarships and the co-curriculum.Through GSA students have won prizes our responses to these challenges, we are not only building on our tradition of access, but are in the Scottish Institute continuing to produce graduates who are professionally orientated and socially engaged. -
The Celtic Revival in Britain and Ireland
Edinburgh Research Explorer The Celtic Revival in Britain and Ireland Citation for published version: Fowle, F 2015, The Celtic Revival in Britain and Ireland: Reconstructing the past. in J Farley & F Hunter (eds), Celts: Art and Identity. British Museum Publishing, London, pp. 234–259. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Celts General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 The Celtic Revival in Britain and Ireland: reconstructing the past Frances Fowle In 1890 George Henry’s and E.A. Hornel’s The Druids: Bringing in the Mistletoe (FIG) was exhibited at the Grosvenor Gallery in London, where it caused a sensation. The art critic R.A.M Stevenson described the druidical figures as ‘grim, tawdry, and savage ... glowing with crude colour.’1 Surrounded by a spectacular gold frame of interlaced snakes, the composition is painted in brilliant vermillion, emerald and gold, recalling the colour range of insular manuscripts. As if stepping out of the pages of Pliny, a solemn procession of Celtic priests emerges from a grove of oaks and descends a snow-clad hill. -
11—17Th September 2017 116 Buildings 50 Walks & Tours a Celebration of Glasgow’S Talks, Events Architecture, Culture & Heritage
Get into buildings and enjoy free events. 11—17th September 2017 116 Buildings 50 Walks & Tours A celebration of Glasgow’s Talks, Events architecture, culture & heritage. & Children’s Activities glasgowdoorsopendaysfestival.com In association with: Photography Competition Send us your photos from the festival and win prizes! Whether you’re a keen instagrammer or have some serious photography kit you could be the winner of some fantastic prizes! Enter by sending your hi-res images to [email protected] or by tagging @glasgowdoorsopendaysfestival on Instagram with the hashtag #GDODFphotos For further details, including our competition categories see glasgowdoorsopendaysfestival.com This competition is partnered with Glasgow Mackintosh www.glasgowmackintosh.com THINGS TO KNOW Every effort was made to ensure details in this brochure were correct at the time of going to print, but the programme is subject to change. For updates please check: www.glasgowdoorsopendaysfestival.com, sign up to our e-bulletins and follow our social media. GlasgowDoorsOpenDays GlasgowDOD Hello glasgowdoorsopendaysfestival Timing Check individual listings for opening hours and times. Access Due to their historic or unique nature, we regret that some venues are not fully accessible. Access is indicated in each listing Now in its 28th year, Glasgow Doors Open and in more detail on our website. A limited number of BSL interpreters are available to Days Festival is back to throw open the book for certain walks & tours, please visit our doors of the city in celebration of Glasgow’s website for details on eligible walks & tours and architecture, culture and heritage. Join us how to book. Electronic Notetaking will be available for a number of our talks at our 11-17th September to get behind the scenes pop-up festival hub at St.