Rising from the flames
Last chance to see some of Mackintosh’s jewels as exhibition comes to a a close at Kelvingrove Art Gallery and Museum
SINCE a second fire engulfed and all but destroyed Charles Rennie Mackintosh’s architectural masterpiece, Glasgow School of Art, the feeling of loss has been palpable in the city and beyond.
One of the strongest narratives to have emerged since June’s blaze, however, has been a renewed recognition of the importance of the legacy that survives, alongside a new determination to appreciate, preserve and celebrate the remaining works of Scotland’s most talented architect, designer and artist. And there is currently no better – or indeed poignant – way to do so than visiting the exhibition at Kelvingrove Art Gallery and Museum.
Now in its final two weeks, Charles Rennie Mackintosh: Making the Glasgow Style has welcomed more than 50,000 visitors since the end of March, showcasing his work in the context of the predecessors, contemporaries, collaborators and movements that influenced him. The show closes on 14 August, so this is the last chance to see the 250 fascinating works - stained glass, metalwork, furniture, books, embroidery and drawings sourced from collections in Glasgow and across the UK - together, to soak up the way in which Mackintosh and his circle impacted and paved the way for one other. Many pieces have not been seen in public for at least a generation, some not at all.
It’s hard not be awed, for example, by the up-close magnificence of The May Queen, left, the stunning 4.5m long gesso panel created by the artist’s wife and key collaborator, Margaret Macdonald Mackintosh, for a scheme at Miss Cranston’s tearooms in Ingram Street, Glasgow. Seeing Macdonald’s fingerprints on the plaster gives a particular sense of intimacy to the experience. Traces of the work can be seen in another exhibit, the pencil sketch Part Seen, Part Imagined, created by her husband four years earlier and recently given as a free print to Herald readers.
According to the exhibition’s curator, Alison Brown, the exhibition has been given a new and powerful significance by the fire.
“Included is a short film, made in 1996, providing a walk around the Glasgow School of Art,” she explains. “To move within the interior spaces of Mackintosh’s architectural masterwork shows his absolute genius; and for me to view this film now, after the tragedy of the fire, makes me tearful at what has been lost. So many of the pieces in the exhibition have connections to the Art School and some were no doubt designed and made in the Mackintosh building.
“Circumstances have therefore made the exhibition an important reflection upon the fragility and importance of our wonderful heritage.”
Ms Brown added: “After working on it for almost four years, it’s been so immensely rewarding to see people so engrossed by the exhibition and hear their observations. On leaving, I defy you not to want to make your own work or explore Mackintosh’s buildings in more detail.”
The exhibition is a centrepiece of Mackintosh 150, a year-long celebration that has included the opening of the Mackintosh at the Willow tea rooms in Sauchiehall Street after a multi-million pound refurbishment and events at The Lighthouse, House For An Art Lover and the soon to be opened V&A museum in Dundee.
Charles Rennie Mackintosh: Making the Glasgow Style is at Kelvingrove until Tuesday, August 14.
For me to view this film now, after the tragedy of the fire, makes me tearful