Dreamer
Life Charles Rennie Mackintosh was born in Glasgow on 11 June 1869 as the fourth out of five children and the second son. The young Charles attended Reid's Public School and the Allan Glen's Institution.[1][2] In 1890 Mackintosh was the second winner of the Alexander Thomson Travelling Studentship, set up for the "furtherance of the study of ancient classic architecture, with special reference to the principles illustrated in Mr. Thomson’s works."[3]. Upon his return, he resumed with the Honeyman and Keppie architectural practice where he commenced his first grand architectural project, the Glasgow Herald Building, in 1899. Charles Rennie Mackintosh met fellow artist Margaret MacDonald at the Glasgow School of Art. Members of the collaborative group known as “The Four”, the two married in 1900. After several successful building designs, Mackintosh became a partner of Honeyman and Keppie in 1903. During his time with the firm, Charles Rennie Mackintosh refined his architectural style. In 1906 he designed the Scotland Street School, which would become his last major architectural commission. When economic hardships were causing many architectural practices to close, he resigned from Honeyman and Keppie in 1913 and attempted to open his own practice. Unable to sustain his office, Mackintosh and his wife took an extended holiday in Suffolk where he created many floral watercolors. Upon return a year later, the Mackintoshes moved to London where Charles continued to paint and create textile designs. In 1916 Mackintosh received a commission to redesign the home of W.J. Bassett-Lowke. This undertaking would be his last architectural and interior design project. Due to financial hardship, the Mackintoshes moved in 1923 to the south of France, as Port Vendres [1]was a comparably cheaper location in which to live. During this peaceful phase of his life, Charles Rennie Mackintosh created a large portfolio of architecture and landscape watercolor paintings. The couple remained in France for five years, before being forced to return to London in 1927 due to illness. That year, Charles Rennie Mackintosh was diagnosed with throat and tongue cancer. A brief recovery prompted him to leave the hospital and convalesce at home for a few months. Necessity resulted in Mackintosh being admitted to a nursing home where he died on December 10, 1928 at the age of 60. [edit]Design Influences He lived most of his life in the prosperous city of Glasgow. Located by the margins of the River Clyde, during the Industrial Revolution the city had one of the greatest production centres of heavy engineering and shipbuilding in the world. As the city grew and prospered, a faster response to the high demand for consumer goods and arts was necessary. Industrialized, mass-produced items started to gain popularity. Along with the Industrial Revolution, Asian style and emerging modernist ideas also influenced Mackintosh's designs. When the Japanese isolationist regime softened, shipyards building at the River Clyde were exposed to Japanese navy and training engineers; Glasgow’s link with the eastern country became particularly close. Japanese design became more accessible and gained great popularity. This style was admired by Mackintosh because of: its restraint and economy of means rather than ostentatious accumulation; its simple forms and natural materials rather than elaboration and artifice; the use of texture and light and shadow rather than pattern and ornament. In the old western style furniture was seen as ornament that displayed the wealth of its owner and the value of the piece was established according to the length of time spent creating it. In the Japanese arts furniture and design focused on the quality of the space, which was meant to evoke a calming and organic feeling to the interior. At the same time a new philosophy concerned with creating functional and practical design was emerging throughout Europe: the so-called "modernist ideas". The main concept of the Modernist movement was to develop innovative ideas and new technology: design concerned with the present and the future, rather than with history and tradition. Heavy ornamentation and inherited styles were discarded. Even though Mackintosh became known as the ‘pioneer’ of the movement, his designs were far removed from the bleak utilitarianism of Modernism. His concern was to build around the needs of people: people seen, not as masses, but as individuals who needed not a machine for living in but a work of art. Mackintosh took his inspiration from his Scottish upbringing and blended them with the flourish of Art Nouveau and the simplicity of Japanese forms. Mackintosh has been an inspiration to MEDes The front (north) CM Mackintosh's Glasgow School of Art on Renfrew Street, Garnethill in Glasgow, Scotland While working in architecture, Charles Rennie Mackintosh developed his own style: a contrast between strong right angles and floral-inspired decorative m GO to the library to do some research if you can't find the answer you're looking for. Sorry this the only info. i got.

Evu Spacci-Kroltas
I've seen MacKintosh chairs , hey I've even sat in them too, the ones I saw were made from hardwood, probably rosewood, the colour was a darkish deep red brown to black in colour, very tall and very straight in design. The chairs were in the Glasgow School of Art where i used to teach about ten years ago, also there were some in the McLellan Gallery on Sauchiehall Street just round the corner and down the hill from the University blocks.

angela l
I have a book on his chairs; and these are the materials mentioned: ebonized oak, ebonized wood (not specified)p ladder back chair; has ashwood frame, stained black, seat upholstered in fabric; other chairs have an ashwood or walnut frame,stained black or white He also used stained pine. He used rush seats for dining room chairs but never deep comfortable upholstery. His fireside chairs are upholstered in bleaches linen. No reference whatever to metal.