Term denoting the style of works of art produced in Glasgow from c. 1890 to c. 1920 and particularly associated with Charles Rennie Mackintosh, Herbert MacNair and the Macdonald family sisters, Frances and Margaret. The style originated at the Glasgow School of Art, where Francis H. Newbery (1853–1946) became director in 1885. Influenced by the Arts and Crafts Movement, Newbery had a commitment to excellence in art that combined functionalism with beauty while encouraging individuality and experimentation among his students. Within three years he had brought in the Century Guild of Artists’ chief metalworker, William Kellock Brown (1856–1934), to teach modelling and metalwork at the School. Kellock Brown had an intimate understanding of A. H. Mackmurdo’s approach to art, as articulated in the journal The Hobby Horse (launched in spring 1884), which voiced a desire for the unification of the old with the new and for an artistic relationship between abstract lines and masses that would reflect the harmonious whole found in nature. The development of the style was given further impetus by the fact that ...
(b Glasgow, June 7, 1868; d London, Dec 10, 1928).
Scottish architect, designer and painter. In the pantheon of heroes of the Modern Movement, he has been elevated to a cult figure, such that the importance of his late 19th-century background and training in Glasgow are often overlooked. He studied during a period of great artistic activity in the city that produced the distinctive Glasgow style. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in architecture could be achieved only through revealed construction. Although Mackintosh’s buildings refrain from overt classicism, they reflect its inherent discipline. His profound originality was evident by 1895, when he began the designs for the Glasgow School of Art. His decorative schemes, particularly the furniture, also formed an essential element in his buildings. During Mackintosh’s lifetime his influence was chiefly felt in Austria, in the work of such painters as Gustav Klimt and such architects as Josef Hoffmann and Joseph Maria Olbrich. The revival of interest in his work was initiated by the publication of monographs by Pevsner (...
(b Munich, June 20, 1868; d Munich, April 13, 1957).
German designer, architect and painter. The son of a textile manufacturer, he studied painting at the Staatliche Kunstakademie in Munich (1888–90); he painted primarily at the beginning and end of his career, and he was a member of the Munich Secession. In 1895 Riemerschmid designed his first furniture, in a neo-Gothic style, for his and his wife’s flat on Hildegardstrasse in Munich. In 1897 he exhibited furniture and paintings at the seventh Internationale Kunstausstellung held at the Glaspalast in Munich. Immediately following the exhibition, the committee members of the decorative arts section, including Riemerschmid and Hermann Obrist, founded the Vereinigte Werkstätten für Kunst im Handwerk. In 1898 Riemerschmid was commissioned to design a music room for the Munich piano manufacturer J. Mayer & Co., which was subsequently exhibited at the Deutsche Kunstausstellung exhibition in Dresden in 1899. The armchair and side chair, with its diagonal bracing, designed for this room, are some of his most original and best-known designs. In ...
Jane Block and Paul Kruty
(b Antwerp, April 3, 1863; d Zurich, Oct 25, 1957).
Belgian designer, architect, painter, and writer. He was one of the leading figures in the creation of Art Nouveau in the 1890s.
From 1880 to 1883 Van de Velde studied at the Academie voor Schone Kunsten in Antwerp, exhibiting for the first time in 1882. In 1883 he was a founder-member of the art group Als Ik Kan, which fostered the position of the artist outside of the Salon. His earliest paintings, such as the Guitar-player (1883; Brussels, priv. col., see Canning, p. 100), are in a Realist vein with sombre tones. In October 1884 Van de Velde travelled to Paris. Although he entered the studio of the academic painter Carolus-Duran, where he remained until the spring of 1885, he was strongly attracted to the works of Jean-François Millet (ii). His works after his stay in Paris, such as Still-life with Fruit Dish (1886; Otterlo, Kröller-Müller), display the characteristic broken brushstroke of the Impressionists, although this style is often combined with subjects drawn from Millet, seen in the ...