"to preserve traditional crafts in the face of modernising industry. Many of the leaders of the Arts and Crafts movement were trained as architects (e.g. William Morris, A. H. Mackmurdo, C. R. Ashbee, W. R. Lethaby) and it was on building that the movement had its most visible and lasting influence. Red House, in Bexleyheath, London, designed for Morris in 1859 by architect Philip Webb, exemplifies the early Arts and Crafts style, with its well-proportioned solid forms, wide porches, steep roof, pointed window arches, brick fireplaces and wooden fittings. Webb rejected classical and other revivals of historical styles based on"
"early twentieth century, having a considerable influence on European architecture, was Charles Rennie Mackintosh (1868–1928). He mixed elements of the Scots baronial, Arts and Crafts Movement and the Art Nouveau to produce elegant modern buildings. His major work included The Willow Tearooms in Sauchiehall Street, Glasgow (1903), Glasgow School of Art (1897–1909) and Hill House, Helensburgh (1902–04). The influence of Mackintosh's Glasgow style can be seen in the work of architects like James Salmon (1873–1924), whose designs included the heavily glass-fronted, Art Nouveau ""Hatrack"" (1899–1902) on Vincent Street and the Lion Chambers, Hope Street (1904–05), an early example of reinforced"
"first, and most important, independent designers, a pivotal figure in the Aesthetic Movement and a major contributor to the allied Anglo-Japanese movement. He produced carpets, ceramics, furniture, glass, graphics, metalwork, including silver and electroplate, including his angular teapot of 1879. The late nineteenth century and early twentieth century saw the emergence of the Glasgow School, a term that is used for a number of loose groups based around the city. The most important grouping, active from about 1890 and known as ""The Four"" or the ""Spook School"", included acclaimed architect and artist Charles Rennie Mackintosh (1868–1928). They produced a distinctive"
"(1834–1904) was one of the first, and most important, independent designers, a pivotal figure in the Aesthetic Movement and a major contributor to the allied Anglo-Japanese movement. The movement had an ""extraordinary flowering"" in Scotland where it was represented by the development of the 'Glasgow Style' which was based on the talent of the Glasgow School of Art. Celtic revival took hold here, and motifs such as the Glasgow rose became popularised. Charles Rennie Mackintosh and the Glasgow School of Art were to influence others worldwide. In continental Europe, the revival and preservation of national styles was an important motive"
"motifs with subtle curves, e.g. the Mackintosh Rose motif, along with some references to traditional Scottish architecture. The project that helped make his international reputation was the Glasgow School of Art (1897–1909). During the early stages of the Glasgow School of Art Mackintosh also completed the Queen's Cross Church project in Maryhill, Glasgow. This is considered to be one of Charles Rennie Mackintosh most mysterious projects. It is the only church by the Glasgow born artist to be built and is now the Charles Rennie Mackintosh Society headquarters. Like his contemporary Frank Lloyd Wright, Mackintosh's architectural designs often included extensive"
"when V&A Dundee opened to the public on 15th September 2018. Charles Rennie Mackintosh Charles Rennie Mackintosh (7 June 1868 – 10 December 1928) was a Scottish architect, designer, water colourist and artist. His artistic approach had much in common with European Symbolism. His work, alongside that of his wife Margaret Macdonald, was influential on European design movements such as Art Nouveau and Secessionism and praised by great modernists such as Josef Hoffmann. Mackintosh was born in Glasgow and died in London. Charles Rennie Mackintosh was born at 70 Parson Street, Townhead, Glasgow, on 7 June 1868, the fourth of"
"John Duncan, the arts and crafts artist, was still active in the early twentieth century and painted several landscapes similar in style to those of Cadell and Peploe. Hunter used a vibrant palette to create notable paintings of the landscape around Balloch on Loch Lomond. Leading architect Charles Rennie Mackintosh (1868–1928) abandoned architecture for painting after World War I and created a number of landscapes, particularly of southern France. He became associated with Fergusson, who pursued also experimental landscape in the inter-war years, many of which were around his home in the Highlands, like that at ""Craigcornash"" (c. 1925). The"
"Kelvingrove Art Gallery and Museum, designed by Sir John W. Simpson are outstanding examples. The city is notable for architecture designed by Charles Rennie Mackintosh (1868–1928). Mackintosh was an architect and designer in the Arts and Crafts movement and the main exponent of Art Nouveau in the United Kingdom, designing numerous noted Glasgow buildings such as the Glasgow School of Art, Willow Tearooms and the Scotland Street School. A hidden gem of Glasgow, also designed by Mackintosh, is the Queen's Cross Church, the only church by the renowned artist to be built. Another architect who had an enduring impact on"
"Charles Rennie Mackintosh Charles Rennie Mackintosh (7 June 1868 – 10 December 1928) was a Scottish architect, designer, water colourist and artist. His artistic approach had much in common with European Symbolism. His work, alongside that of his wife Margaret Macdonald, was influential on European design movements such as Art Nouveau and Secessionism and praised by great modernists such as Josef Hoffmann. Mackintosh was born in Glasgow and died in London. Charles Rennie Mackintosh was born at 70 Parson Street, Townhead, Glasgow, on 7 June 1868, the fourth of eleven children and second son of William McIntosh, a superintendent and"
"artist William Morris to the cluttered compositions and the revival tendencies of the 19th century and his theories that helped initiate the Arts and crafts movement. Arthur Mackmurdo's book-cover for ""Wren's City Churches"" (1883), with its rhythmic floral patterns, is also sometimes described as the first realisation of Art Nouveau. About the same time, the flat perspective and strong colors of Japanese wood block prints, especially those of Katsushika Hokusai, had a strong effect on the formulation of Art Nouveau. The ""Japonisme"" that was popular in Europe during the 1880s and 1890s was particularly influential on many artists with its"
"of Red House at Bexleyheath, southeast London in 1859 for William Morris, and – towards the end of his career – the house Standen (near East Grinstead in West Sussex). These were among several works in his favoured niche: country houses. A Greater London Council blue plaque commemorates Webb and Morris at the Red House. William Morris, Edward Burne-Jones and Dante Gabriel Rossetti were three of his partners in the interior decorating and furnishing business, Morris, Marshall, Faulkner & Co., later to become Morris & Co. Webb and Morris formed an important part of the Arts and Crafts movement, and"
"inherited styles were discarded. Even though Mackintosh became known as the ‘pioneer’ of the movement, his designs were far removed from the bleak utilitarianism of Modernism. His concern was to build around the needs of people: people seen, not as masses, but as individuals who needed not a machine for living in but a work of art. Mackintosh took his inspiration from his Scottish upbringing and blended them with the flourish of Art Nouveau and the simplicity of Japanese forms. While working in architecture, Charles Rennie Mackintosh developed his own style: a contrast between strong right angles and floral-inspired decorative"
"Glasgow Museums. Some of his design work for Blackie was sold at Sotheby's in 1989 in the sale of their archives. Posthumous exhibitions of Morris's work were held at the William Morris Gallery, London from 23 August-2 October 1983, National Art Library, London from June–July 1990, Blackwell, Lake District from 26 April-11 July 2005, University of Reading from 12 January-20 March 2009, and Court Barn Museum, Chipping Campden from 3 April-17 May 2015. His work across media (including early architectural sketches, metalwork, bookbindings, bookplates, and graphic art) was shown at the exhibition ""Charles Rennie Mackintosh: Making the Glasgow Style"" held"
"labour, human decency and charitable love were the themes that lent themselves to enthusiastic treatment by Morris and Ford Madox Brown. Burne-Jones and Dante Gabriel Rossetti were to become philosophic traitors to the Arts and Crafts Movement by their association with the Aesthetic Movement. The 1870s was a time of rich ornamentation and eclecticism in the arts. The treatment of Gothic canopies which were a feature of so many windows began to change from the brightly coloured, two-dimensional, playful appearance of the 1850s and 60s to an appearance of having been carved from fine white limestone. Tudor and Renaissance architectural"
"Glasgow style of Charles Rennie Mackintosh – the other distinctive local Arts and Crafts tradition of the time – and lay behind its considerable contemporary reputation and its widespread influence on later modernism. The strength of the Arts and Crafts movement within Birmingham formed one of the precursors of early European modernism. Edward R. Taylor's educational developments in Birmingham in the 1880s were a direct influence on William Lethaby's innovations at London's Central School of Arts and Crafts from 1896, which in turn provided the model for the establishment of the Bauhaus by Walter Gropius in 1919. The Dutch architect,"
"advocated a return to the informal planting style derived as much from the Romantic tradition as from the actual English cottage garden. The Arts and Crafts Exhibition of 1888 began a movement toward an idealised natural country garden style. The garden designs of Robinson and Jekyll were often associated with Arts and Crafts style houses. Both were influenced by William Morris, one of the leaders of the Arts and Crafts Movement—Robinson quoted Morris's views condemning carpet bedding; Jekyll shared Morris's mystical view of nature and drew on the floral designs in his textiles for her gardening style. When Morris built"
"architect/designer Charles Rennie Mackintosh, and the Vienna Secession. If there is any criticism of Limbert furniture it is that some pieces have been described as ""underscaled and malproportioned"". That appears to be true of certain groupings within his Arts and Crafts line, but the best examples can command prices similar to Stickley's work. One of Limbert's most notable pieces, a jardiniere, was included among Stickley and other craftsmen's work in the 1973 show at the Art Museum of Princeton University that began the Arts and Crafts Revival. Limbert furniture was among the furnishings of the Old Faithful Inn in Yellowstone"
"Walter Scott from 1816, and a parallel revival of the Gothic in church architecture. Neoclassicism was pursued by William Henry Playfair, Alexander ""Greek"" Thomson and David Rhind. The late nineteenth century saw some major engineering projects including the Forth Bridge, a cantilever bridge and one of the first major all steel constructions in the world. The most significant Scottish architect of the early twentieth century, Charles Rennie Mackintosh, developed a unique and internationally influential ""Glasgow style"". Architects who continued to employ styles informed by the past included James Robert Rhind and James Miller. From the mid-twentieth century, architecture in Scotland"
"Britain was Glasgow, with the creations of Charles Rennie Mackintosh and the Glasgow School, whose work was inspired by the French Art Nouveau, Japanese art, symbolism and Gothic revival. Beginning in 1895, Mackintosh displayed his designs at international expositions in London, Vienna, and Turin; his designs particularly influenced the Secession Style in Vienna. His architectural creations included the Glasgow Herald Building (1894) and the library of the Glasgow School of Art (1897). He also established a major reputation as a furniture designer and decorator, working closely with his wife, Margaret Macdonald Mackintosh, a prominent painter and designer. Together they created"
"university, he trained as an architect, married Jane Burden, and developed close friendships with the Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with the Neo-Gothic architect Philip Webb. Webb and Morris designed a family home, Red House, then in Kent, where the latter lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded a decorative arts firm with Burne-Jones, Rossetti, Webb, and others: the Morris, Marshall, Faulkner & Co. Becoming highly fashionable and much in demand, the firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture,"
"anticipated the development of Functionalism in modern architecture. Towards the end of the century, there occurred a blossoming of theoretical activity. In England, Ruskin's ideals underpinned the emergence of the Arts and Crafts movement exemplified by the writings of William Morris. This in turn formed the basis for Art Nouveau in the UK, exemplified by the work of Charles Rennie Mackintosh, and influenced the Vienna Secession. On the Continent, the theories of Viollet-le-Duc and Gottfried Semper provided the springboard for enormous vitality of thought dedicated to architectural innovation and the renovation of the notion of style. Semper in particular developed"
"and regularly exhibited her paintings dealing with realism, but the abstract works were not shown until 20 years after her death, at her request. She considered herself to be a spiritualist and mystic. Margaret Macdonald Mackintosh (1865–1933) was a Scottish artist whose works helped define the ""Glasgow Style"" of the 1890s and early 20th century. She often collaborated with her husband, the architect and designer Charles Rennie Mackintosh, in works that had influence in Europe. She exhibited with Mackintosh at the 1900 Vienna Secession, where her work is thought to have had an influence on the Secessionists such as Gustav"
"Four, led Charles Rennie Mackintosh, who gained an international reputation for their combination of Celtic revival, Art and Crafts and Art Nouveau. The early twentieth century was dominated by the Scottish Colourists and the Edinburgh School. They have been described as the first Scottish modern artists and were the major mechanism by which post-impressionism reached Scotland. There was a growing interest in forms of Modernism, with William Johnstone helping to develop the concept of a Scottish Renaissance. In the post-war period, major artists, including John Bellany and Alexander Moffat, pursued a strand of ""Scottish realism"". Moffat's influence can be seen"
"Derby was an artist whose paintings symbolised the struggle between science and religious values in the Age of Enlightenment. He was also suggested to be ""the first professional painter to express the spirit of the Industrial Revolution"". Charles Frederick Worth, born in Lincolnshire in 1825, is considered to be the founder of Parisian ""haute couture"", ostensibly as the world's first true fashion designer. The region can claim the world's first factory, Sir Richard Arkwright's Cromford Mill. Additionally, the world's oldest working factory can also be found in the area, producing textiles at Lea Bridge, owned by John Smedley. Both sites"
"Stanton Macdonald-Wright Stanton MacDonald-Wright (July 8, 1890 – August 22, 1973), was a modern American artist. He was a co-founder of Synchromism, an early abstract, color-based mode of painting, which was the first American avant-garde art movement to receive international attention. Stanton MacDonald-Wright was born in Charlottesville, Virginia in 1890. His first name, Stanton, was chosen to honor the women's rights activist Elizabeth Cady Stanton; he later hyphenated his last name after repeatedly being asked if he were related to the famed architect Frank Lloyd Wright. He spent a privileged adolescence in Santa Monica, California, where his father ran a"
"became subject to an Enclosure Act. In 1859 architect Philip Webb designed Red House for the artist, reforming designer and socialist William Morris on the western edge of the heath, in the hamlet of Upton—before Upton became largely developed as a London suburb. The National Trust acquired the house in 2003. Morris wanted to have a ""Palace of Art"" in which he and his friends could enjoy producing works of art. The house is of red brick with a steep tiled roof and an emphasis on natural materials. Red House is in a non-historical, brick-and-tile domestic style. It is now"
"architect and interior designer Robert Adam (1728–1792) leading the new style. The late 18th century and the early 19th century characterized by the Romantic movement in British art includes Joseph Wright of Derby, James Ward, Samuel Palmer, Richard Parkes Bonington, John Martin and was perhaps the most radical period in British art, also producing William Blake (1757–1827), John Constable (1776–1837) and J.M.W. Turner (1775–1851), the later two being arguably the most internationally influential of all British artists. Turner's style, based on the Italianate tradition although he never saw Italy until in his forties, passed through considerable changes before his final"
"woman, and her long-term partnership with the Scottish artist John Duncan Fergusson did not rule out other liaisons. She met Fergusson in Paris in 1913 and he later became her husband and was an important influence on her work. He introduced her to the Paris art world and with her in 1915 founded the Margarent Morris Club in Chelsea, which quickly became the focus for the remnants of the pre-war avant garde in London. Members included Augustus John, Jacob Epstein, Katherine Mansfield, Ezra Pound, Siegfried Sassoon, Wyndham Lewis and Charles Rennie Mackintosh among others. This group, after the war, were"
"designer in the Arts and Crafts Movement and the main exponent of Art Nouveau in the United Kingdom, designing numerous noted Glasgow buildings such as the Glasgow School of Art, Willow Tearooms and the Scotland Street School Museum. A hidden gem of Glasgow, also designed by Mackintosh, is the Queen's Cross Church, the only church by the renowned artist to be built. Another architect who has had an enduring impact on the city's appearance is Alexander Thomson, with notable examples including the Holmwood House villa, and likewise Sir John James Burnet, awarded the R.I.B.A's Royal Gold Medal for his lifetime's"
"of his lecturers, Alwyn Waters, and through him came to take an interest in William Morris, who had been a pioneer of the Arts and Crafts movement in the latter part of the 19th century. At the same time, Hollamby was influenced by the modernist movement in architecture to which two of his favourite lecturers, Arthur Ling and Alex Lowe, belonged, and joined the Modern Architectural Research Group (MARS). Following the completion of his studies, he moved to Lancashire to assist a project building the Royal Ordnance factory number 7 in Kirby, before returning to London to work in housing"
"private residences for his commercial clients. It was through the design of these houses that his reputation largely survives. Dods visited the Continent in 1891 for a study tour of Italy. It was in Naples that he met Charles Rennie Mackintosh, who was also travelling to fulfil the terms of the Alexander Thomson Scholarship which he had won the previous year. Macintosh was destined to be recognised as one of the pioneers of the Modern Movement, and this meeting could have influenced Dods' architectural outlook. Robin Dods died on 23 July 1920, and was buried in the South Head Cemetery."
"effective extinction. The revival of furniture painted with images was a particular feature at the top end of the market. From its opening in 1875 the London department store Liberty & Co. was especially associated with imported Far Eastern decorative items and British goods in the new styles of the end of the 19th century. Charles Voysey was an architect who also did much design work in textiles, wallpaper furniture and other media, bringing the Arts and Crafts movement into Art Nouveau and beyond; he continued to design into the 1920s. A. H. Mackmurdo was a similar figure. In many"
"design lost in the clutter of Victorian ostentation. During the twentieth century though, a number of now renowned architects visited Japan including Frank Lloyd Wright, Ralph Adams Cram, Richard Neutra and Antonin Raymond. These architects, among others, played significant roles in bringing the Japanese influence to western modernism. Influence from the Far East was not new in America at this time. During the eighteenth and a large part of the nineteenth centuries, a taste for Chinese art and architecture existed and often resulted in a ""superficial copying"". The Japanese influence was different however. The modernist context, and the time leading"