CHARLES RENNIE MACKINTOSH FEATURE
Becreated: an interior of Glasgow’s famous Miss Granston’s Ingram Street Tea Room
collar and floppy Parisian necktie. whisking him away to exquisite domestic bliss in those iiistifferably piecious. white interiors on posh (lilmoiirliill.
.\l;iekintosh‘s interest in symbolism is uneoiiiloitahle to modern architects and historians. but it cannot be ignored. Everything in his architecture means something: and much of it remains a mystery. What. for example. is the significance of those strange panels on the gallei y fronts in the School of Art‘s library? Are the can ed shapes below flowers. or bubbles. or tasselicd t'i‘iiigcs‘.’ .-\lltl if so, why‘.’ One of the Pl’til‘lt‘llls with \lackintosh is that he never explained what he was tip to. No wonder his
partners found him irritating. Too often it is assumed that Mackintosh was a
lone. struggling artist when, in fact. for most of
his architectural career he worked with the respected and successful firm of l-loneyman & Keppie. Things went wrong; and the fact is. he blew it. Does that make him tragic'.’ Perhaps it does. But to understand that tragedy we must dismiss the myths that understanding of what Mackintosh really meant to Glasgow. He was so much greater and more interesting than the caricature.
'I‘llt' (War/(’3‘ Rt’llltit’ ilfat‘ki/thM/I exhibition is a! l/It’ McLellan Gal/cries, Glasgow, Saturday 25 May~Monday .i() .S'cptt’mln'i:
pervert our
fiankintosh moment;
Deyan Sudllc, ., director of
‘ Glasgow Clty ot Architecture and Design 1999 ‘lle‘s‘ a towering shadow. an intimidating but inspiring presence and a hell of a thing to live up to. We have become so familiar 'w ith Mackintosh's work. There is a sense of overkill. o\ct‘ iaiitiliai ity is sometimes worse than neglect. But he l\' streets ahead of William Morris on his level of iiiyentioii. And there is still so much of his work we haven't seen. :\s to the Mackiiitosli-style signs like Beware ()f The Dog. it's a phenomenon the world over. It's the same in Vienna with mineral water bottles in the style of the designs by Josef lloffiiiaiiii.’
Deyan Sudllc
Janice Kirkpatrick, designer and director of Graven Images, Glasgow
‘Nlackintosh was lirayc. radical. innovative and risky and we need this again. You have to take risks to be innovative. \‘y'hcn Mackintosh was young he took risks. We don‘t create the same opportunities for young people today. We dont live in the right climate. it's a safe and nostalgic time. .-\ rebellion is needed
with vigour and energy. we need some unorthodoxy again.‘
["1 m
FREE EXHIBITION VIEWING WITH THE LISTAND GLAYVA- “ ' £27]
RLlE—S RENle MACKINTSSH
Glasgow is to celebrate one of its legends, Charles Rennie Mackintosh. in the largest ever exhibition of his work —- and 300 lucky readers of The List will be treated to a private viewing of the spectacular show on Tuesday 4 June.
We are teaming up with exhibition sponsor Glayva to offer you the chance to see for yourself the highlight of Glasgow’s 1996 Festival of Visual Arts. The much- anticipated exhibition in Glasgow’s McLellan Galleries opens on Saturday 25 May, showcasing more than 300 breathtaking works by the internationally renowned architect and designer. It will unveil some previously unexhibited Mackintosh works, including a reconstruction of the 1900 Ladies‘ Luncheon Room interior, originally part of Glasgow’s famous Miss Cranston’s Ingram Street Tea Rooms.
The Private Glayva Evening will allow you to View the exhibition in style. On
arrival at the McLellan Galleries, you will be treated to a taste of Glayva. This
all-occasion drink combines a blend of the finest whiskies married with natural herbs, heather honey and a hint of tangerine. What better way to experience
Charles Rennie Mackintosh?
l
‘5 7.,- //
For tickets to The List's private viewing of the exhibition. on Tuesday 4 June from 7.45—9.30pm, Write to:
Mackintosh Exhibition, The List, 14 High Street, Edinburgh, EH1 115.
(Tickets will be allocated on a first come. first served basis.)
'l‘lie l.l\[ I’M) .\lay l‘No 17