Wall Panel for the Dug-Out (Willow Tea Rooms, Glasgow) - right - Charles Rennie Mackintosh
Stampa giclée d'archivio
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Pagamento sicuro
Fatto su ordinazione
Descrizione
A decorative wall panel design by Charles Rennie Mackintosh for the Dug-Out at the Willow Tea Rooms, featuring his signature linear style and gesso technique.
This work is a section of the decorative scheme designed by Charles Rennie Mackintosh for the Dug-Out, a basement space within the Willow Tea Rooms in Glasgow. Commissioned by Kate Cranston, the project allowed Mackintosh to exercise total control over the interior environment. He treated the room as a unified work of art, where furniture, lighting, and wall treatments functioned in concert.
The panel displays the characteristic aesthetic of the Glasgow School, blending linear precision with symbolic abstraction. The composition relies on verticality and geometric discipline, balanced by organic, flowing forms. Mackintosh utilised a muted palette, punctuated by specific applications of colour to guide the eye across the surface. The imagery incorporates stylised motifs that echo the architectural elements of the room itself, creating a dialogue between the physical space and the decorative surface.
Technically, the work employs gesso, a material Mackintosh favoured for its ability to add texture and relief to flat surfaces. The application of oil paint over this base provides a subtle depth, allowing light to interact with the panel in a way that changes throughout the day. This approach reflects his interest in the synthesis of craft and design. The panel is not merely a decorative addition but a structural component of the Dug-Out, contributing to the specific atmosphere of the tea room. It demonstrates his ability to integrate fine art techniques into functional interior design, maintaining a balance between decorative density and structural clarity. The work remains a primary example of his late-period output, where his style moved toward more abstract, rhythmic patterns while retaining the formal rigour of his earlier architectural projects.
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Spedizione
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Produzione
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Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
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
Wall Panel for the Dug-Out (Willow Tea Rooms, Glasgow) - right - 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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