Fine Art Poster
From £28
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.
Omslagsdesign för "Meister der Innenkunst" – Charles Rennie Mackintosh
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
En omslagsdesign från 1902 av Charles Rennie Mackintosh för "Meister der Innenkunst", med långsträckta figurer och geometrisk typografi typisk för jugendrörelsen.
Denna omslagsdesign av Charles Rennie Mackintosh (1868-1928) skapades 1902 för publikationen "Meister der Innenkunst" (Mästare inom inredningskonsten), utgiven av Alex Koch i Darmstadt, Tyskland. Mackintosh, en skotsk arkitekt, designer och konstnär, var en ledande figur inom jugendrörelsen i Storbritannien, särskilt inom Glasgowskolan. Hans arbete kännetecknas av en syntes av arkitektoniska former, dekorativa motiv och en distinkt linjär stil. Designen visar två långsträckta kvinnofigurer, återgivna med delikata linjer, inneslutna i en stiliserad, geometrisk ram. Figurerna är prydda med cirkulära glorior och stiliserade blomsterelement, vilket speglar jugendrörelsens intresse för naturliga former. Typografin är integrerad i kompositionen, med titeln och Mackintoshs namn presenterade i ett djärvt, geometriskt typsnitt. Färgpaletten är återhållsam, med fokus på dämpade toner och subtila kontraster, typiskt för Mackintoshs raffinerade estetik. Denna omslagsdesign exemplifierar Mackintoshs förmåga att blanda grafisk design, illustration och dekorativa konster till ett sammanhängande och innovativt visuellt uttryck.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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Omslagsdesign för "Meister der Innenkunst" – Charles Rennie Mackintosh
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 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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Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
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Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
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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Artistbiografi
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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