Who Is Charles Rennie Mackintosh?

Due to an unfortunate dying genre in the humanities; as a result of the contemporary economic tract housing, architecture has taken a backburner in the world of art over the last couple of decades. However, fragments of the beauty created many years ago still exists. Frank Lloyd Wright and Zaha Hadid, though different in their architectural visions both contributed and continue to contribute to the art of architecture today, surpassing their existence here on earth. While gender differences are evident, both renowned architects overcame obstacles to achieve a legacy far greater than expected. Wright, withstanding an era negatively impacted by race and war persevered through, managing his struggles with tragedy, misfortune and ill-fated

Brancusi's imprint on contemporary sculptural practice ranges from the dissemination of furniture-oriented sculpture and the emerging topos of architectural folly to new paradigms for public art. At the same time many postwar artists engaging in a dialogue with his legacy have read and productively misread Brancusi's work. Through the

Designing and decorating a room is giving it a sense of purpose and personality. In the sixties, this became about capitalising on the influence of the Space Race, which right from its ‘infancy’ was having an observable impact on culture and art. It brought with it a growing appetite for what was considered to be the cutting edge of technological and human advancement. It is agreed that it was in the architectural landscape of the West’s cities that this shift was most noticeable. They were updated with ‘upswept winglike roofs, domes, satellite shapes and starbursts that became the dominant visual language of motels, diners and gasoline stations’. It is for this reason that Colombo’s apartments were as contained as spacecraft and I feel contextualises something of the general climate that lead to the chrome dipped Factory itself being a rather futuristic ‘spillover from the silvery streamlining of the space program’. For Warhol, for whom the now was paramount, working from somewhere that so greatly embraced innovation would have been integral. (Kennedy, 2007)

Charles Lyell was a British lawyer and one the smartest geologist known in his time. He was known as the author of the Principles of Geology, which helped popularize the theories and concepts of uniformitarianism. The Principles of Geology was the first book written by Lyell and explained the changes of the earth’s surface. He used the research and information in the book as his proof to determine that the earth was over 6,000 years old. The central argument in his book was “the present is the key to the past”, this meant that to find out what happened in the past you had to look at what was happening now. It explained that changes which happened in the past, were happening in the present, and will happen in the future.

Upon visiting the RISD Museum my preconception was that it would be just a couple of rooms filled with numerous paintings that would seem mundane and somehow all blend together. However, my thought process couldn’t have been more wrong. I found myself engulfed by the mix of styles and mediums throughout the museum. Stumbling into the European styled room I found myself in front of The Salon D’or, Homburg. This composition embodied elegant motion through the use of commotion in a horizontal format. William Powel Frith, the artist of the piece, clearly shows a distinctive perspective into the elite lifestyle during the 1870’s.

On June 7th 1868 in Glasgow Scotland Charles Mackintosh was born, he had a rough tendon on his foot that was inflexible and therefore had a limp when walking. Another obstacle was that he had dyslexia which is reading backwards and continued to not spell properly into adulthood. He had spent a lot of time hanging out in the country when he was young and he developed a liking to nature’s beauty. Charles dad worked in the police force growing up and his mother Margaret was a devout Christian who attended the Presbyterian Church

This exhibition of Japanese works of art is at The MET. The exhibition opened fall of 2016. In this exhibition, that is featuring works of art drawn from the recent landmark gift to the Museum by the Mary and Jackson Burke Foundation. Which opened on October 20th, is a tribute to the discerning New York City collector who built what is widely regarded as the finest and most encompassing and private collection outside Japan. The works on the exhibition will includepaintings, sculpture, ceramics, calligraphy, lacquerware, and so more from the 10th to the 20th century. Among the highlights are a powerful representation of the Buddhist deity Fud & My, from the studio of the celebrated sculptor Kaikei, a sumptuous set of early 17th-century screens showing Uji Bridge from Kyoto, and It ?Jakuch? 's tour-de-force ink painting of plum blossoms in full bloom illuminated by Moonlight. I think this was organized by a theme and

Woodblock print was one of the Japanese art that came to Europe. This Japanese woodblock print called “Ukiyo-e” had the greatest influence on Impressionist and Post-Impressionist art (Choi, 2012). One of the greatest master “Ukiyo-e” was the one coined the term manga; Hokusai Katsuhika. His ability to capture a person or scene with few fluid lines led to collections around 1815, he called manga, meaning whimsical pictures or sketches. He is responsible for one of the most famous images of Japanese art, the brilliant and precise woodblock print known as The Great Wave of Kanagawa (Schodt 1983).

I will use this newly acquired information to view everyday items differently, to see the beauty behind plain brick walls. I will take in Merrill’s way of thinking to ask myself, “What was learned?” each time I have completed an artwork. This will improve my future techniques and widen my range of perceptions and thoughts. I believe that Michael Merrill was successful in reaching his goal. He wanted to focus on viewing objects in a different way and using light sources to differentiate colour and contrast from night and day. I was unbelievably fascinated with Merrill’s way of thinking, as it showed me that there is more than one way to view an object. He so eloquently explained his opinion on his apartment complex that it made me realize that no two people in the world see something the same way. I would consider the building to be not worth of my time to paint, yet Merrill demonstrates his capabilities in a piece of art that I would consider incredible. All of Merrill’s artworks are so perfectly done, from every crisp edge, to the shadows, to the

At the time Charles was designing, there was a new movement: simplifying architecture, making it practical. This was the modernist movement. The modernist movement was used to create new technology. Charles liked this idea because it incorporated the past, present, and the future, instead of just focusing on history like other architects were doing. Mackintosh also inspired European architecture as a whole after his death. One article discusses Charles influence on Architecture, “Although Mackintosh's architectural output was fairly small he had a considerable influence on European design. Especially popular in Austria and Germany, Mackintosh's work was highly acclaimed when it was shown at the Vienna Secession Exhibition in 1900”(Spartacus Educational). Charles was alive during the Vienna Secession that also inspired Frank Lloyd Wright.

Charles Rennie Mackintosh has been called Scotland’s greatest architect and designer, in addition to being celebrated as one of the most prominent and influential figures in modern design and the art Nouveau period. Mackintosh was an architect, furniture designer, water colorist and ceramicist, and within his wide range of work is a strong element of refined elegance, inspired by nature and blurring the lines between art, craft and design. According to Spencer (2005), “Mackintosh sees nature as a spiritual, creative force and one which is essential to human development” (p.146), working within this philosophy, Mackintosh inspired

On his book on Modern Architecture, Curtis writes that modern architecture was faulted for it’s “supposed lack of ‘recognizable imagery’” towards the end of the 1970s. This statement supports the idea of Jencks’ double coding where architects must now make

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

Visit any major museum of art, at any given time, and one could find an abundance of monumental names listed on tiny plaques hanging next to even more recognizable works of art. The excitement felt by any art enthusiast when walking into these buildings of time and creation, is undeniable and especially unique. Could it be the atmosphere of the building, the presence of artwork, the people, possibly the grandeur of the space, or perhaps, could it be the spirit of the artists themselves, peering through the work they created?

The second chapter overlooks a series of art movements such as De Stijl, Bauhaus, Enlightenment, CIAM, and the work of famous architect Frank Lloyd Wright. This chapter attempts to find their position on senses and the cultural memory. The authors