3. MA­STER OF SCOTLAND.

THE ART NOU­VEAU STY­LE OF CHAR­LES RENNIE MACKINTOSH ABSORBED ECHOES OF THE PA­ST AND JA­PAN.

AD (Italy) - - Storie. - words CE­SA­RE DE SE­TA

Scotland ed­ged in­to the mo­dern world ra­ther la­te in the ga­me. Gla­sgow, its lar­ge­st ci­ty, played an im­por­tant ro­le in the in­du­strial re­vo­lu­tion. Pa­trons and ar­tists ca­me to­ge­ther in the Gla­sgow Mo­ve­ment, wi­th Char­les Rennie Mackintosh (1868-1928) as the lea­ding fi­gu­re. He de­si­gned the Gla­sgow School of Art (1897-1909, now being re­con­struc­ted af­ter a da­ma­ging fi­re last Ju­ne), a buil­ding of great charm due to its com­bi­na­tion of the me­die­val tra­di­tion and mo­der­ni­sm. He de­si­gned pri­va­te ho­mes, sto­res, a chur­ch and an ama­zing num­ber of fur­ni­shings. In­fluen­ced by Art Nou­veau, he was al­so aware of the work of his con­tem­po­ra­ry Frank Lloyd Wright, and had an in­fluen­ce on the Vien­ne­se Se­ces­sion. His ma­ster­pie­ces in­clu­de the Hill Hou­se (1902-04), who­se in­te­riors and fur­ni­shings ha­ve been per­fec­tly con­ser­ved. The hi­gh-bac­ked Hill Hou­se chair is his mo­st fa­mous de­si­gn pie­ce. Cas­si­na has reis­sued it for the I Mae­stri col­lec­tion, thanks to the phi­lo­lo­gi­cal pas­sion of Fi­lip­po Ali­son.

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