Jasmine, Walberswick - Charles Rennie Mackintosh
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Descrizione
A precise botanical study of jasmine by Charles Rennie Mackintosh, created in Walberswick in 1915 using delicate pencil lines and watercolour washes.
This botanical study by Charles Rennie Mackintosh captures the delicate structure of jasmine, rendered during his time in the coastal village of Walberswick in 1915. Mackintosh, better known for his architectural contributions to the Glasgow School, produced a series of these precise floral observations during his later years. The work demonstrates his disciplined approach to form, where thin, controlled pencil lines define the stems and buds, while light washes of yellow and green provide subtle colouration.
The composition is sparse, focusing on the verticality of the plant stems and the specific arrangement of the blossoms. Mackintosh avoids unnecessary background detail, allowing the viewer to focus on the botanical accuracy of the specimen. The inclusion of a small, hand-drawn box containing the title, location, and date is a characteristic feature of his work from this period, reflecting his interest in graphic design and typography. This piece offers a glimpse into the artist's quiet, observational practice, far removed from the large-scale architectural projects of his earlier career.
The paper shows the natural ageing expected of a work from the early twentieth century, with the ink and watercolour remaining clear and legible. The drawing is not merely a scientific record but a deliberate aesthetic arrangement of natural elements. It reflects the broader interest in nature found within the Arts and Crafts movement, where the study of organic forms informed decorative patterns and design principles. This print captures the restraint and clarity that define Mackintosh's approach to drawing, making it a suitable addition for those interested in the intersection of botanical art and early modern design.
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Jasmine, Walberswick - 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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