Flowers - Charles Rennie Mackintosh
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Beschreibung
A 1916 botanical study by Charles Rennie Mackintosh, featuring precise pencil work and watercolour washes of crimson and yellow flowers.
Charles Rennie Mackintosh produced a significant body of botanical studies during his later years, particularly while residing in Walberswick and Chelsea. This work, dated 1916, demonstrates his precise observation of plant forms. Mackintosh moved away from the architectural rigour of his earlier career to focus on the structural geometry found in nature. He employed a disciplined technique, combining delicate pencil outlines with controlled washes of watercolour.
The composition features a central stem of deep crimson blossoms, rendered with a focus on the physical weight and orientation of the petals. A smaller, yellow flower sits in the lower left, providing a tonal contrast to the primary subject. Mackintosh often left parts of his botanical drawings unfinished, allowing the viewer to see the underlying graphite construction lines. This transparency reveals his method of mapping the plant before applying colour. The background remains largely unadorned, ensuring the focus stays on the botanical specimen itself.
His approach to these studies differs from traditional Victorian botanical illustration. Rather than aiming for scientific documentation, Mackintosh sought to capture the rhythmic qualities of the plant. The stems and leaves are depicted with a linear clarity that reflects his background as an architect and designer. The work is signed with his characteristic monogram, a square grid containing his initials, which he used to unify his diverse output of furniture, textiles, and graphic art. This print captures the specific period of his life when he turned his attention toward the study of natural form, resulting in works that balance objective observation with a distinct sense of graphic design.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Flowers - Charles Rennie Mackintosh
Artist Biography
Charles Rennie Mackintosh
He was the fourth of eleven children, seven of whom survived infancy. His father was a police superintendent. The boy was probably dyslexic, struggled badly at school, and used sketchbooks to manage what appear to have been emotional difficulties. He had a contracted sinew in one foot that gave him a limp, and childhood rheumatic fever left one side of his face permanently drooped. None of this stopped him drawing.
He enrolled at Glasgow School of Art at fifteen, studying part-time while apprenticed to the architect John Hutchinson. In 1889 he joined Honeyman and Keppie, where he would remain for nearly two decades. He met Margaret Macdonald in 1892. Together with her sister Frances and Herbert McNair, they formed a group that became known as The Four. Mackintosh and Margaret married in 1900. He acknowledged publicly that Margaret had genius where he had only talent.
His greatest commission was the Glasgow School of Art building itself, won in competition in 1897. The library wing, completed in 1909, is considered one of the finest interiors of the twentieth century. He designed all four tea rooms for the entrepreneur Catherine Cranston, going so far as to specify the waitresses' dresses and order the flowers. In Vienna, at the eighth Secessionist Exhibition in 1900, his work was received with an enthusiasm Glasgow never matched.
His style fell from favour. He drank. He was asked to leave his firm. In 1914 he and Margaret moved to Walberswick in Suffolk, where he was briefly arrested as a suspected German spy because of his Vienna correspondence and unusual manner. He was released without charge but effectively driven from the village.
In 1923, they moved to Port Vendres in the south of France. The light and landscape revived him. He painted watercolours of the surrounding hills and harbour with an obsessive attention to geological detail, completing around forty before returning to London for the last time.
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