Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Pinks - Charles Rennie Mackintosh
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£37.00 GBP
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£37.00 GBP
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Beschrijving
A delicate watercolour study of pinks by Charles Rennie Mackintosh, featuring his signature blend of precise botanical observation and geometric structure.
Charles Rennie Mackintosh produced this watercolour study of pinks during his later years in Port-Vendres, France. The composition demonstrates his characteristic approach to botanical subjects, where he balances precise observation with a disciplined, geometric structure. The flowers are arranged within a dark, rectangular container that features subtle, linear decorative motifs, typical of his architectural background.
Unlike the looser, more atmospheric floral studies of his contemporaries, Mackintosh treats the blooms with a degree of graphic clarity. The petals are rendered with delicate washes of pale pink, white, and soft violet, while the stems and foliage are defined by thin, controlled lines. A single, fallen flower rests on the dark surface in the foreground, providing a quiet counterpoint to the dense cluster of blossoms above. The contrast between the soft, organic forms of the flowers and the rigid, dark container creates a tension that is central to the visual appeal of the work.
This piece reflects the artist's move away from the heavy ornamentation of his earlier Glasgow Style towards a more restrained, modernist aesthetic. The background is kept neutral, allowing the subtle colour variations within the petals to emerge. The inclusion of the small, blue glass vessel adds a sharp, saturated note to the otherwise muted palette. Mackintosh's ability to synthesise natural observation with a formal, almost architectural sense of order is evident here. The work remains a fine example of his late-career focus on still life, where he applied the same rigour to nature as he did to his furniture and building designs. It is a study of form, light, and the quiet geometry of the natural world.
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Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
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Pinks - Charles Rennie Mackintosh
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Charles Rennie Mackintosh
Mackintosh died holding a pencil. By then, December 1928, throat cancer had taken his voice, and he had spent his final months in a London clinic unable to speak or eat. He was sixty years old. The Times noted his significance to modernism. Glasgow, the city that had largely ignored him for two decades, would take considerably longer to notice.
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.
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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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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