Willow Herb, Buxstead - Charles Rennie Mackintosh
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A precise 1919 botanical study by Charles Rennie Mackintosh, featuring the willow herb rendered in watercolour and pencil.
During his later years, Charles Rennie Mackintosh shifted his creative focus from architecture to the meticulous study of botanical forms. Produced in 1919 while the artist resided in Sussex, this watercolour captures the willow herb with the precision and economy of line that defined his mature graphic style. Mackintosh approaches the subject with a disciplined eye, balancing fully rendered blossoms with delicate, uncoloured outlines of buds and stems. This technique allows the viewer to observe the structural logic of the plant, revealing the artist's interest in the geometry of nature.
The composition is anchored by the deep magenta petals of the central flower, contrasted against the subtle, muted tones of the foliage. A single yellow flower sits at the base, providing a secondary point of interest that prevents the vertical arrangement from feeling static. The inclusion of his characteristic monogram and the precise location and date within a small, hand-drawn box reflects his background as an architect, where every element serves a specific purpose within the frame.
Unlike his earlier, more decorative work, these late botanical studies demonstrate a move toward objective observation. The paper remains largely empty, forcing the eye to engage directly with the plant's form rather than a background setting. This work is representative of the period when Mackintosh retreated from the public architectural sphere, finding solace in the quiet observation of the English countryside. The print preserves the texture of the original paper and the subtle variations in the watercolour washes, offering an authentic representation of his draughtsmanship.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Willow Herb, Buxstead - 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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