The Palm Beach Post from West Palm Beach, Florida on November 28, 1968 · Page 99
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November 28, 1968

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The Palm Beach Post from West Palm Beach, Florida · Page 99

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West Palm Beach, Florida
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Thursday, November 28, 1968
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Page 99
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Mall Section, Thursday, Nov. 28, 1968 9 Architecture Re-Evaluation Worthwhile ) N. Y.Timti Ntwi Strvkfl N A hundred the beginnings of some kind of a perspective about it, which-means that we are embarking on voyages of rediscovery. There is nothing like a retrospective exhibition to create that sense of rediscovery and re-evaluation. First, the 50th anniversary jjars, or even 50 years, becomes a landmark and a time (&r looking back, and what we lOok back at now are the roots of the modern movement in Architecture and design. We are examining history, with PALM BEACH SPORT CENTER PRE i CHRISTMAS i SALE! j GOLF CLUBS white becomes a mass of nuances, violet glows through a teardrop in a silver lamp or melts against mirror or glass in traceries of lead, red is a declamation in a black, white and yellow wall. This is something that cannot be experienced in the scholarly journals. His influence went directly from Glasgow to Vienna, where the architects of the secession admired him extravagantly and invited him to participate in the exhibition of 1900. The line extends to Wagner and Loos, to the Bauhaus and Gropius and Mies, to everything that we call modern today. lot has been lost along the way. One has gotten awfully tired of Bauhaus blue, of the tubular cliches, of the safe design formulas. Only now is a less puritanical and int ell equalized sensuosity coming back into architecture and design with a younger generation involved with the full spectrum of color and dimensional experience. These are often hard and chic optical exercises, even esthetic throwaways; Mackintosh was involved in a reformation that was also a gentle exploration of beauty and a probing analysis of architectonic surfaces and space. He is sometimes paired, or paralleled, with Frank Lloyd Wright, but, beyond the climate of the time which led men of genius to strip beauty bare, their talents are individual and unlike. In 1896, when his Glasgow art school was designed, it was, in many ways, ahead of Wright. One begins to call the art school a great proto-modern building, but it was proto-nothing; with its expressive functional modernity enriched by the spatial definition of the remarkable decoration, and a touch of sound Scottish traditionalism, this is a great building in quite absolute terms, by any measurement of time or style. The drawings for it are in the show, with enlarged photographs and some sample furnishings. There are watercofors, flower drawings, textile designs, posters and an assortment of objects, such as unsurpassed silver flatware. But it would all be a ripple on the surface of art history if it were not for the strict, lyrical power of this one man. Mackintosh worked for an elite few, but something of the changes he inaugurated pervades every life today. Whether it is the art school, the domestic interiors or the series of tearooms for Miss Cranston, the designs are as curiously affecting now as they must have been when they first appeared. of the Bauhaus came as a surprise to those either old enough to be shocked by the flight of a half-century or young enough to think of the beginnings of the Bauhaus as shrouded in the mists of time. That show, which was inaugurated in Germany this summer, has just closed at Burlington House. Hard on its heels, an exhibition organized by the Scottish Arts Council to celebrate the centenary of the Scottish architect Charles Rennie Mackintosh (1868-1928), and shown first at the Edinburgh Festival, has opened at the Victoria and Albert Museum, to run to Dec. 29. To those who have simply taken Nikolaus Pevsner's word and the pictures beginning to fade in the classroom art histories that Mackintosh was a genius to be reckoned with, this exhibition is indeed a revelation. It is the first retrospective of his work outside Scotland. The show consists largely of recreations of those famous interiors of 1900 to 1917 that startled turn-of-the-century professionals. These "rooms" use original furnishings and accessories, so that the effect is fresh and immediate and the impact tremendous. We are undoubtedly in for a Mackintosh revival, if in nothing more than shades of mauve floating in a sea of sculptured white. Re-evaluation is hardly necessary. This is merely stunning affirmation that Mackintosh was one of the major in- novative talents of modem times, with a deep and definitive influence on the forms of architecture and design that set the scene of the contemporary world. The evidence has long been clear. Charles Rennie Mackintosh was the leader of the "Glasgow School," a small group of sensitive men and women who renounced the decorative excesses of long-entrenched Victorian taste. This movement was one of several short but significant revolts that recurred from the time of William Morris well into the 10th century, to leave their mark on history and taste. The contrasts could not be more splendidly revealed than they are in the permanent upstairs collection at the V and A. The Victorian Room, with a huge ceramic centerpiece of unclear, elaborate function covered with roses, held by straining cupids and topped by writhing gold snakes, leads directly to the William Morris room and the ascetic works of Voysey and Mackintosh. The moment of art nouveau paralleled the Glasgow School. There are connections beautiful ones between Mackintosh and those seductive forms, but he used them rarely and with exquisite sensitivity in a far stricter geometry. It is a geometry of intensely personal style and skill, brilliantly prefiguring movements as decorative as the modernistic and as basic as the Bauhaus. STEEL & ALUMINUM SHAFTS White STAG SPEEDO 3.95 ; BOYS 4 GIRLS LETTER $1095 SWEATERS 1 0 TANK SUITS I S BOWLING XSrr... BOWLING m mmm BALLS IO"oM" SHOES 8" .0 1U" PALM BEACH SPORTS CENTER PALM BEACH MALL be active . . . enjoy life more with f2 1 Mies Van der Rohe has described Mackintosh as a "purifier." He was that, and to be in his presence in this show makes one realize that purity need not be sterility. It can be a flowering, rather than a repression of the senses. He makes one feel color more because he uses it with such supremely refined intensity: Maine To Muskie All-Florida Magazine AUGUSTA. Maine (AP) - The official tabulation of Nov. 5 votes gave the Humphrey-Muskie ticket Maine's four presidential electoral votes to day. Final totals were 217,312 for Humphrey-Muskie, 169,254 for Florida's leading Sunday Magazine Nixon-Agnew and 6,370 for George C. Wallace and Mar vin Griffin. ' lyu?!1 VjY 1M f Real Pepsi & 7 Up Bottles jrn V.w'Vjr vk fcl ' 1 We've stretched Af I 6) them! Fill with ) f ?jf w long-stem flowers . J & they're pictur- -r ' r 4 f esque vases! y , I Empty, they're A nflSO. I table decorations ft AjLJ M I with a futuristic l LnPV I I f ; sculpture look! If J-JrV.', p l h . Display at parties s j!Tt A l It & wa,ch 9uests m ! ' w m 9e wi,n ,hat l L Fjn ' Y A ij. Have 1 h?" one s. x f Ridiculous Rumor Stirrers Your Own Extra Dial Phone 1 j At last swizzle k What you save on monthly bills, pays tl n sticks have J W ,or ,his ex,ra phon9i Pay once a XA VI become giggle Jg yours for life! No further charges! V k fflr sticks' Everyone A Saves running for the phone. If r ' ... nl theSe ornate Y Standard phones are newly recondi- f lNhghballmS J tioned. Incl. 5 ft. cord & 4-prong plug. 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