Cintra - Charles Rennie Mackintosh
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Pagamento sicuro
Fatto su ordinazione
Descrizione
A 1908 botanical study by Charles Rennie Mackintosh, featuring precise pencil lines and delicate watercolour washes of a plant specimen.
Produced in June 1908, Cintra is a characteristic botanical study by the Scottish architect and designer Charles Rennie Mackintosh. During his later years, Mackintosh moved away from his architectural practice to focus on watercolours, often depicting flora with a distinct, analytical precision. This work captures the structure of a plant through a combination of delicate pencil outlines and controlled washes of colour.
The composition is defined by a linear approach, where the artist maps the form of the specimen with thin, precise strokes. Rather than aiming for a traditional, realistic representation, Mackintosh deconstructs the plant into its geometric components. The overlapping lines and transparent colour applications reveal his interest in the structural logic of nature. The palette is restrained, utilising soft blues, greens, and muted reds against the natural tone of the paper, which remains visible throughout the work.
This piece reflects the aesthetic principles of the Glasgow School, where the focus often shifted towards stylised, rhythmic forms. The signature block, placed near the base, is integrated into the overall design, a common practice for Mackintosh. The work demonstrates his ability to balance scientific observation with a decorative sensibility. By isolating the plant against a neutral background, he draws attention to the curvature of the stems and the specific geometry of the petals. It is a study of form and space, showing the artist's disciplined approach to drawing during his time in England. The work remains a clear example of his transition from large-scale architectural projects to the intimate, focused study of natural subjects.
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Cura e materiali
Caratteristiche specifiche
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- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
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Cura e pulizia
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Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Cintra - 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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