| Margaret MacDonald was a member of
the Glasgow Four and was also Charles
Rennie Mackintosh's wife and collaborated with him in several artistic
endeavours. Often overshadowed by Charles Rennie Mackintosh, Margaret remains an artist in her own right and produced a wide range of objects ranging from embroidery, gesso panels, watercolours and glass. Her work was linear and had a decorative quality and she especially used semi precious gems as decorative elements. Her works were often used to decorate the interior designed schemes by Charles Rennie Mackintosh, and added to the entire concept of the Gesamtkuntswerk, in which the entire work of art was created. |
 |
Margaret MacDonald Mackintosh La Mort Parfumee 1921 Pencil, watercolour, gouache, gold paint on paper. Hunterian Art Gallery, University of Glasgow, Mackintosh Collection. |
|
| Margaret MacDonald Mackintosh (1864-1933) Menu Design for the White Cockade 1911 Hunterian Art Gallery Mackintosh Collection |
|
Margaret MacDonald Mackintosh was
influenced by William Blake in her use of linear
decoration, rigid symmetry, rows and parallels. This is also shown in her use of
curved bands, lines and stripes. Her work, although decorative, tended to look to stylised figural representation, and often juxtaposed figural representation with symbolic icons such as the rose, heart and bud motif. This can be seen in the image on the left which demonstrates a linear decorative quality whilst using symbolism in the female figure and the rose motif. |
|
| This image on the right hand side
demonstrates Margaret's use of Symbolism. In this
image, she has chosen to create an allegry for Summer which is represented her in the
figures meeting. At the same time she has maintained her linear and decorative
quality, even though this image is on paper.
|
|
Margaret MacDonald Mackintosh Summer 1893 Pencil, Ink, Watercolour Hunterian Art Gallery University of Glasgow |
|
| . | |||
