VOLUME 98 SPRING 2014 Charles Rennie Mackintosh Society
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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. -
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. -
Charles Rennie Mackintosh (1868 –1928)
Duncanrig Secondary School Department of Art&Design Art & Design Studies Learner’s N4/5 Outcome 1 Design Factsheet Design Studies Textiles/Pattern N4: Describe the things that have inspired and influenced designers and their work by: N4: 1.1 Describing how designers use design materials, techniques and/or technology in their work N4: 1.2 Describing the things that have influenced these designers and the work they produce N4: 1.3 Expressing facts and personal opinions about the designers’ work A study of Charles Rennie Mackintosh (1868 –1928) Tobacco Flower textile design, Watercolour design for Rose & Teardrop, Watercolour & Gouache, 1915-23 Furniture Fabric, 1915-23, Watercolour Textile Design, 1915-23 CLICK ON LINK BELOW TO VIEW RELEVANT IMAGES https://s-media-cache-ak0.pinimg.com/originals/f1/e5/70/f1e570055e84b7871a46482a091b610e.jpg https://s-media-cache-ak0.pinimg.com/originals/a9/77/25/a977252411cd1fd494da9bf6e5dae80e.jpg https://s-media-cache-ak0.pinimg.com/originals/5d/46/4a/5d464aa612facc9e943a0e7484abf2a5.jpg Images from The Hunterian Museum, Mackintosh Collection What is Textiles Design? Textile design is a creative field that fulfills a variety of purposes in our lives such as our clothing, carpets, drapes, towels, and historically wall coverings. The creations of patterned textiles are not only important for their use, but also for the role they play in the fashion industry. Textile designers have the ability to inspire collections, trends, and styles. The textile industry, while being a creative art form, is a very business savvy industry. Textile designers marry a creative vision of what a finished textile will look like with a deep understanding of the technical aspects of production and the properties of fibre, yarn, and dyes. -
Madge Atkinson (1885-1970) and Natural Movement
Pioneer Women: early British modern dancers June 2008-May 2010 Project Background and Aims Funded through the Arts and Humanities Research Council’s Resource Enhancement Scheme, the primary focus of this project was on two previously closed archive collections containing material representing forms of ‘barefoot dance’ that were prominent in early twentieth century Britain. The archives are specific to the work of Madge Atkinson (1885-1970) and Ruby Ginner (1886-1978) (the collection of Bice Bellairs), both pioneers of early British modern dance forms which embraced naturalism and neo-classical ways of moving. In addition, the project processed materials from two solo dancers working in modern dance forms influenced by European practice, Ludi Horenstein (also known as Ludmila Mlada or Rosemary Young) and Leslie Burrowes. The project undertook vital cataloguing and preservation work to ensure the permanence and accessibility of the materials and records. However, the overall aim was to increase interest and scholarship in these previously overlooked areas of British dance and, more specifically, the practitioners who contributed to the expansion of the art form. The project was a collaboration between the National Resource Centre for Dance, the Department of Dance, Film and Theatre of the University of Surrey and an eminent Dance Historian based at Middlesex University. The project was guided by a select steering group and developed with the expertise of two key dance scholars Professor Rachel Fensham and Professor Alexandra Carter. The opening and publicising of these collections, subsequent research into them, and a series of events aimed to re-establish the largely forgotten place of Atkinson, Ginner, Horenstein and Burrowes in dance history. -
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. -
Anderson's College Medical School
M003 Anderson's College Medical School Introduction John Honeyman & Keppie designed a two storey, yellow sandstone Italo-Scots Renaissance-detailed building fully equipped to meet the requirements of a medical school. Authorship: The contract for Anderson's College was awarded to James Sellars in 1887 and under his supervision a design was drawn up by John Keppie in early 1888. Following Sellars's death later the same year, Keppie brought the contract into the partnership with John Honeyman. Mackintosh joined the newly established practice in 1889. There is no evidence to suggest that Mackintosh contributed to the design. Alternative names: The Anderson College of Medicine. Cost from job book: Phase 1: £9503 3s 5d; Phase 2: £363 1s 2d Cost from other sources: Estimated cost of around £10,000 on completion 1 Status: Standing building Current name: Glasgow International College Current use: Higher education college affiliated with the University of Glasgow (2014) Listing category: B Historic Scotland/HB Number: 32867 RCAHMS Site Number: NS56NE 1004 Grid reference: NS 56396 66513 Chronology 1796 Death of John Anderson. Anderson's Institution founded according to Anderson's will. 1 1800 Lectures in anatomy and surgery begin at Anderson's Institution. 2 1828 Anderson's Institution becomes Anderson's University. 3 1877 Anderson's University becomes Anderson's College following the passing of the Anderson's College (Glasgow) Act. 4 1887 Anderson's College Medical School is incorporated as a distinct institution under the Education Endowments Act of 1884. Other college faculties join several institutions to form the Glasgow and West of Scotland Technical College. -
Curriculum Vitae & Background
SUMMARY CURRICULUM VITAE & BACKGROUND Dr. Wendy May Timmons [email protected], Direct line 0131 6516596, @wtimmons Academic Role Senior Teaching Fellow (0.8) Programme Director: MSc Dance Science & Education WITH accredited QTs teaching pathway for 3-18 yrs. (GTCS) o I conceptualised and developed the MSc Dance Science and Education programme, which was successfully launched in 2009. This was the first and remains the only PG degree for dance in Scotland. o Following the success of the MSc DSE, I then developed the QTs pathway within the MSc DSE, successfully getting it accredited by the GTCS as a teacher qualification across 3-18 years with a subject specialism in dance. There is no other route to QTs for dance teachers in Scotland. The MSc DSE with QTs was indeed the first Master’s degree to break traditional ITE models of provision, ensuring a route to access to dance artists and practitioners, this was launched in 2016 o PhD completed October 2020: Title, Dancing with hypermobility: The embodied experiences and health risk of hypermobility in a classical ballet narrative Responsibilities: Course organiser & teaching: Dance Pedagogy (40 credits), Preventative Dance Medicine (20 credits), Dissertation Course (60 credits) Teaching: Professional Development and leadership in Dance (40 credits QTs pathway), MA PE Dance Education, Dance theory & practical (yrs. 1&2) PhD supervision: Three current students (Dance Science & Education), Sian Salmond, Yang Zhao, Liron Blajwajs, Academic citizenship: Committee membership: 1. Special Circumstances committee MHSES 2. Teaching, Learning and curriculum development committee subgroup MHSES 3. School for Scottish and Celtic Studies, archive. Steering Board member (LLC/CAHSS) 4. -
HIRE DANCE BASE Our Beautiful Studios, Meeting Room and Other Spaces Are Available to Hire
DANCE AND 22 Apr – 29 Jun SHINE Courses, drop-in classes & workshops for eve ryone SUMMER 19 Dance Base 14 –16 Grassmarket Edinburgh EH1 2JU 0131 225 5525 dance @dancebase.co.uk dancebase.co.uk @DanceBase DanceBaseScotland @dancebase BOARD Chair Edward A Crozier Vice Chair Ashley Shannon Members Robert Dawson Scott, Fiona Hendry, Kirstee Macbeth, Cllr Donald Wilson DANCE BASE STAFF Chief Executive Emma Stewart-Jones Patron: HRH Prince Charles, Duke of Rothesay KT KG Artistic Director Morag Deyes MBE Artistic Patron: Mark Morris General Manager Matt Roe Dance Base is a registered charity that encourages and celebrates Head of Finance Fiona Dick the potential for dance in everyone. Donations from individuals, Finance Officer Stef Skinner trusts, foundations and companies are all vital to our work. If you Head of Catalyst Bush Hartshorn would like to support Dance Base, please contact Matt Roe, Programme Manager Helen McIntosh Chief Executive (Interim) on 0131 225 5525. Participation Manager Allan Irvine Dance Base is a Registered Scottish Charity No. SC022512 Programmes Coordinator Charlotte Anderson Dance Artist (Dance for Parkinson’s) Jen Cunningham Dance Base gratefully acknowledges support from: Head of Marketing & Communications John Lyndon Marketing & Communications Officer Emma Lawford Marketing & Communications Officer Lyn Conroy Bookings & Front of House Manager Caroline Mansfield Bookings & Front of House Deputy Managers Linsey McEwan-Smith, Kathryn Miller, Zoë Shaw Duty Manager Mirna Higueras Calvo Bookings & Front of House Assistants -
Administration Date Initials FIRE INVESTIGATION REPORT Premises: Mackintosh Building, 167 Renfrew Street, Glasgow Post Code: G3
SCOTTISH FIRE AND RESCUE PREVENTION AND PROTECTION PAGE 1 OF 46 Administration Date Initials Copy – LSO Copy – Police Audit Report & File FIRE INVESTIGATION REPORT REPORT OF FIRE AT: Premises: Mackintosh Building, 167 Renfrew Street, Glasgow Post Code: G3 6PQ Occupier: Glasgow School of Art Day of Call: Friday Date of Call: 23/05/14 Time of Call: 12:27 Incident No: 21735141 No. of Calls: 37 Grid Reference: 258133, 666052 Appliances first Mobilised T01A1 Rescue Pump (RP) (Cowcaddens), T01A2 (RP) (Cowcaddens), T04A1 (RP) (Yorkhill) Incident Commander Watch Commander Stockton (First Attendance): Other Appliances attending: T02D1 Arial Rescue Pump (ARP) T02A2 (RP) (Maryhill), M04A1Support Pump (Milngavie), M04L1 Forward Control Unit (FCU) (Milngavie), V05A2 (RP) (Calton), VO4D1 (ARP) V04A2 (RP) (Polmadie), V01A1 (RP) (Govan), V04A2 (RP) (Polmadie), V05A1 (RP) (Calton), M01K1 Major Incident Unit (MIU) (Clydebank), T02D1 (ARP) (Maryhill), T06D1 (ARP) (Springburn), 554 Fire Investigation Unit (FIU) (Livingston) Incident Commander (Overall): Assistant Chief Officer Goodhew. Method of Extinguishing fire: Six jets and three ARP’s in use as water towers. Audio Visual Officers: Frank Kelly John Hannah OTHER SERVICES ATTENDING AND CONTACT DETAILS Police Liaison Officer: Inspector Wright H179 Police Incident Officer Police: Detective Inspector (D.I) Nicola Burnett 290842, Detective Sergeant (D.S) Phil McLauchlan G6019, Detective Constable (D.C) Christopher Sneddon G6238, G/ Division CID, Aikinhead Road Police Station, Glasgow. Ambulance Service: Ray -
Josef Hoffmann, Charles Rennie Mackintosh, and Their Contribution to the Decorative Arts in Fin- De-Siecle Glasgow and Vienna
Illinois Wesleyan University Digital Commons @ IWU Honors Projects History Department 4-15-2014 The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin- de-Siecle Glasgow and Vienna Elizabeth Muir Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/history_honproj Part of the History Commons Recommended Citation Muir, Elizabeth, "The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin-de-Siecle Glasgow and Vienna" (2014). Honors Projects. 51. https://digitalcommons.iwu.edu/history_honproj/51 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Elizabeth Muir Major: History Research Honors The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin-de-Siecle Glasgow and Vienna Dr. Horwitz April 15, 2014 In the twentieth century, two designers stood out as radicals: Josef Hoffmann of Vienna and Charles Rennie Mackintosh of Glasgow.