Mimosa, Amélie-les-Bains - Charles Rennie Mackintosh
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Beschreibung
A precise botanical study of mimosa by Charles Rennie Mackintosh, created in Amélie-les-Bains in 1924 using pencil and watercolour.
During his later years, Charles Rennie Mackintosh moved away from the architectural and furniture design that defined his early career in Glasgow. He spent significant time in the south of France, particularly in the Pyrenees-Orientales region. This work, dated January 1924, reflects his period in Amélie-les-Bains. It is a precise botanical study of mimosa, rendered with the disciplined observation that characterised his late-life output.
Mackintosh employs a restrained palette, allowing the natural forms of the plant to dictate the composition. The drawing combines delicate pencil outlines with subtle watercolour washes. The feathery foliage is depicted with rhythmic, repetitive strokes, while the spherical flower heads are captured with soft, yellow pigment. The composition is balanced, occupying the centre of the page with a clear, objective focus. A characteristic feature of his late botanical works is the inclusion of a small, hand-drawn box containing the title, location, date, and his initials, CRM. This annotation provides a clear record of his travels and his methodical approach to documenting the flora he encountered.
Unlike his earlier, more stylised Art Nouveau designs, these botanical studies show a shift towards a direct, almost scientific engagement with nature. The lines are thin and controlled, avoiding unnecessary ornamentation. The work demonstrates his ability to translate the organic structure of a plant into a clean, graphic format. It is a quiet, observational piece that reveals the artist's focus during his time in France, far removed from the urban environment of his earlier architectural projects. The paper tone remains visible, providing a neutral ground that prevents the colours from appearing overly saturated, maintaining a sense of calm and clarity throughout the study.
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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
Mimosa, Amélie-les-Bains - 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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