Charles Hodge Mackie (1862-1920) stands as a significant, if sometimes overlooked, figure in the vibrant tapestry of late 19th and early 20th-century Scottish art. An artist of considerable intellectual curiosity and technical versatility, Mackie was a pivotal conduit for avant-garde European ideas, particularly from France, into the Scottish art scene. His career charts a fascinating journey through various artistic styles, from early realism to a profound engagement with Symbolism and Impressionism, and his influence extended to a new generation of artists both in Scotland and abroad.
Early Life and Artistic Awakening
Born in Aldershot, Hampshire, England, in 1862, Charles Hodge Mackie was the son of William Mackie, an army captain, and Anne, who hailed from Edinburgh. Though born in England, along with his sister Helen, the family had relocated to Inveresk, Midlothian, Scotland, by 1871. This Scottish upbringing would prove formative for his artistic identity.
Initially, Mackie pursued a different path, enrolling at the University of Edinburgh to study medicine. However, the allure of art proved stronger, and he soon redirected his academic pursuits towards an artistic career. This decision was made against a backdrop of some financial strain for the family, due to his father's military commitments, which at times interrupted his formal studies. Despite these challenges, Mackie's commitment to art was unwavering. He undertook art studies in the Portobello area of Edinburgh and received training in the esteemed classes of the Royal Scottish Academy (RSA), a cornerstone institution for artistic education in Scotland, which had nurtured talents like Sir Henry Raeburn and William McTaggart.
It is important to distinguish Charles Hodge Mackie from another contemporary, Charles Robert Norris Mackie (born 1869), who had a different life trajectory rooted in a wealthy Christchurch family and sheep farming in New Zealand before returning to England and later Christchurch. Our focus remains on Charles Hodge Mackie, the artist whose life and work became deeply intertwined with the artistic currents of Edinburgh and continental Europe.
Embracing the Parisian Avant-Garde: The Nabis and Symbolism
The late 19th century was a period of immense artistic ferment, and Paris was its undeniable epicenter. Mackie, with his innovative spirit and keen artistic antennae, was drawn to these new developments. In the early 1890s, he established crucial connections with the French Symbolist group known as Les Nabis. This collective, whose name derives from the Hebrew word for "prophets," included artists such as Paul Sérusier, Pierre Bonnard, Édouard Vuillard, and Maurice Denis.
The Nabis were profoundly influenced by the Synthetist theories of Paul Gauguin, advocating for art that went beyond mere representation to express ideas and emotions through simplified forms, flat planes of color, and decorative patterning. Mackie's association with Sérusier was particularly significant. He also absorbed the impact of Post-Impressionist giants like Paul Cézanne, whose structural approach to composition was revolutionizing painting, and Édouard Vuillard, known for his intimate, patterned interiors. Gauguin's own bold color experiments and his quest for the "primitive" and spiritual in art left an indelible mark on Mackie.
This immersion in French Symbolism shaped Mackie's artistic direction, encouraging him to explore more subjective and evocative modes of expression. He began to incorporate symbolic elements and a more decorative sensibility into his work, moving away from purely academic or naturalistic concerns. His time in France, including a walking tour of Brittany in the spring of 1892 and meetings with Vuillard and Gauguin in Paris, was crucial in this development.
The Celtic Revival and Scottish Identity
Parallel to his engagement with French modernism, Mackie was an active participant in the Celtic Revival, a cultural movement that sought to rediscover and celebrate the artistic, literary, and mythological heritage of the Celtic peoples. In Scotland, this movement found a champion in the visionary polymath Patrick Geddes, a biologist, sociologist, and town planner who also had a profound interest in cultural renewal.
Mackie collaborated with Geddes, contributing murals to his projects and, most notably, designing the striking "Tree of Life" cover for Geddes's influential quarterly magazine, The Evergreen. This publication, which ran from 1895 to 1896, was a key organ of the Celtic Revival in Scotland, featuring contributions from writers and artists who sought to foster a distinctly Scottish cultural renaissance. Mackie's design, with its flowing lines and symbolic resonance, perfectly encapsulated the movement's aims. He was in close contact with other figures central to this movement, such as the artist John Duncan, discussing Celtic mythology and other esoteric sources of inspiration. This involvement demonstrates Mackie's commitment to exploring and expressing his Scottish artistic identity, even as he engaged with international trends.
A Cosmopolitan Vision: Travels and Influences
Mackie was an inveterate traveller, and his journeys provided rich material and diverse influences for his art. His travels took him from the familiar landscapes of Scotland's east coast to the sun-drenched climes of Southern France and Spain, and the unique atmosphere of Venice.
His time in Venice was particularly fruitful. He produced a series of notable paintings of Venetian palaces and scenes, demonstrating a keen understanding of the city's unique architecture and light. In these works, he often employed a technique of layering paint in a manner that evoked the fluidity and transparency of watercolour, capturing the shimmering, ethereal quality of the city. His Venetian woodcuts, such as Serene and other works titled Venice, showcase his skill in this medium, using complex designs to convey the beauty of La Serenissima. These works reflect an engagement with the city's artistic legacy, a legacy shaped by masters like Titian, Tintoretto, and Canaletto.
In France, beyond his formative experiences in Paris and Brittany, he painted in Provence, creating works like Hay Cart (1914), which captured the region's gentle colours and distinctive light, a region famously depicted by Vincent van Gogh and Cézanne. He also travelled and painted in Normandy and Picardy, often in the company of the Yorkshire artist Lionel Crawshaw. His Spanish travels further broadened his visual vocabulary. These journeys allowed Mackie to absorb diverse artistic traditions and landscape aesthetics, enriching his own eclectic style.
Artistic Style and Evolution
Charles Hodge Mackie's artistic style was not static; it evolved significantly throughout his career, reflecting his responsiveness to different influences and his own exploratory nature. His early training at the Royal Scottish Academy would have grounded him in the principles of realism, a dominant mode in much 19th-century academic art.
However, his encounters with French art, particularly the work of the Nabis and Impressionists, catalyzed a shift. He embraced the brighter palette and broken brushwork of Impressionism, a style pioneered by artists like Claude Monet, Camille Pissarro, and Berthe Morisot, although his engagement with a fully Impressionistic style seems to have waned by around 1905. More profoundly, Symbolism offered him a means to explore subjective experience and decorative design, evident in works inspired by Sérusier and Gauguin.
A fascinating aspect of Mackie's oeuvre is his versatility across mediums. Beyond oil painting, he was a skilled printmaker, particularly in the art of the woodcut. The late 19th century saw a revival of the woodcut as an original art form, championed by artists like Gauguin and Edvard Munch, and Mackie's Venetian woodcuts are a testament to his mastery in this demanding technique, achieving subtle colour harmonies and intricate compositions.
Even as he embraced modernism, Mackie retained a strong connection to observation. His Venetian works, for instance, while stylistically advanced, also demonstrate a careful attention to architectural detail and atmosphere. His painting Interior, Venice (c. 1880-1882), depicting an apartment layout with a view of the dome of Santa Maria della Salute, shows an early interest in capturing specific environments. His style could be described as a synthesis, drawing from the directness of realism, the atmospheric qualities of Impressionism, and the evocative power of Symbolism, all filtered through his unique artistic sensibility. He sought to convey an intuitive feel for nature and to explore complex aesthetic problems through innovative use of colour and form.
Key Works and Their Significance
Several key works illuminate Charles Hodge Mackie's artistic journey and contributions.
There were Three Maidens pu'd a Flower (1892) is a significant Symbolist painting, created during his Venetian period but clearly reflecting the influence of his French connections, particularly Paul Sérusier. The title itself evokes a sense of narrative and folklore, characteristic of Symbolist preoccupations. The composition likely features flattened perspectives and decorative elements typical of the Nabis.
Hay Cart (1914), painted in Provence, showcases a different facet of his art. Here, the emphasis is on capturing the light and atmosphere of the South of France, with softer colours and a more Impressionistic handling of paint, though by this date, Impressionism as a movement had given way to Post-Impressionism and early modernism.
His Venetian scenes, both paintings and woodcuts, are central to his output. Works like Interior, Venice and his various woodcuts titled Venice or Serene demonstrate his fascination with the city's unique interplay of light, water, and architecture. These pieces often combine detailed observation with a poetic sensibility.
The cover design for The Evergreen, featuring the "Tree of Life," is a key work within the context of the Celtic Revival. It is a powerful graphic statement that encapsulates the movement's themes of renewal, nature, and spiritual interconnectedness, aligning him with other artists of the Arts and Crafts movement like William Morris, who also valued decorative design and symbolic meaning.
These works, among others, reveal Mackie's ability to navigate and synthesize diverse artistic currents, from the decorative symbolism of the Nabis to the atmospheric concerns of landscape painting, all while engaging with the cultural revival of his homeland.
A Catalyst for Others: Mentorship and the Society of Scottish Artists
Mackie was not only a dedicated artist but also a significant figure in the institutional and social fabric of the Scottish art world. He was a founding member of the Society of Scottish Artists (SSA) and served as its first president. The SSA was established in 1891 to provide more exhibition opportunities for younger and more progressive artists, offering an alternative to the more established Royal Scottish Academy. Under Mackie's leadership, the SSA played a vital role in showcasing a diverse range of contemporary art.
He was known for his generosity in sharing his time and advice with younger artists. He actively encouraged figures like Samuel John Peploe, F.C.B. Cadell, and J.D. Fergusson – artists who would later become renowned as key members of the Scottish Colourists, alongside G.L. Hunter. Mackie's encouragement to explore Symbolism and Impressionism helped pave the way for these younger painters to develop their own bold, colour-driven styles. While the Colourists developed their mature styles somewhat later, Mackie's earlier engagement with French modernism was an important precursor.
His willingness to adapt his own work to the tastes of the Scottish art market, by adjusting his colour and light, shows a pragmatic side, but also a desire to communicate effectively with his audience. Despite the inevitable competition and criticism present in any art scene – with anecdotes suggesting some artists might only offer praise if remunerated – Mackie fostered a supportive environment through his own actions.
Transatlantic Connections: Impact on A.Y. Jackson and Canadian Art
Charles Hodge Mackie's influence extended beyond Scotland, most notably to Canada through his mentorship of A.Y. (Alexander Young) Jackson. Jackson, who would become a pivotal figure in Canadian art as a founding member of the Group of Seven, encountered Mackie during his formative years.
Mackie provided Jackson with invaluable advice, support, and, crucially, a window into contemporary European art. He shared his knowledge of French Symbolism, Impressionism, and the broader currents of European modernism. He even took Jackson to Paris and planned to visit the Salon d'Automne with him, an important venue for avant-garde art. This exposure was critical for Jackson, who was seeking to break away from the more conservative artistic traditions prevalent in Canada at the time.
Mackie encouraged Jackson to continue his studies and his artistic explorations. This guidance helped Jackson to develop his own distinctive style, characterized by a bold and expressive approach to the Canadian landscape. The Group of Seven, which included artists like Lawren Harris, J.E.H. MacDonald, Arthur Lismer, and Tom Thomson (though Thomson died before its official formation), sought to create a distinctly Canadian school of landscape painting, and Mackie's early influence on Jackson played a part in shaping this trajectory. Jackson himself acknowledged the importance of Mackie's insights, which helped him to synthesize European modernist ideas with a uniquely Canadian vision, drawing inspiration from the raw, untamed beauty of the Canadian wilderness, much as Scandinavian artists like Akseli Gallen-Kallela had done with their own national landscapes.
During one period in Paris, Mackie himself decided to stay for a year, not just for art, but to delve into philosophical studies, particularly the alchemical text Turba Philosophorum. He humorously noted that Paris, with its abundance of "idlers and sensualists," was an ideal place for a philosopher, reflecting his multifaceted intellectual interests.
Later Years and Legacy
Charles Hodge Mackie continued to paint and exhibit throughout his career. His works were shown at institutions like the Scottish National Gallery and were collected by bodies such as the Finnish Art Association, indicating an international reach facilitated by figures like Tancred Kirens. He remained based in Edinburgh, a city that had nurtured his artistic development.
He passed away in Edinburgh on July 12, 1920, at the age of 58. His death marked the loss of a versatile and forward-thinking artist who had played a crucial role in bridging Scottish art with broader European developments.
Mackie's legacy lies in his diverse body of work, which reflects the major artistic shifts of his time, and in his significant influence as an educator and mentor. He helped to introduce and popularize modern European art ideas in Scotland and, through his connection with A.Y. Jackson, contributed to the development of modern art in Canada. He stands as an important link in the chain of artistic innovation, a cosmopolitan Scot who embraced the new while remaining connected to his cultural roots. His pioneering spirit and his ability to synthesize diverse influences ensure his place as a notable figure in the history of Scottish art, alongside contemporaries like the "Glasgow Boys" such as Sir John Lavery and James Guthrie, who were also transforming Scottish painting in their own distinct ways.
Conclusion
Charles Hodge Mackie was an artist of remarkable breadth and foresight. From his early academic training to his deep engagement with French Symbolism and Impressionism, and his active role in the Celtic Revival, he navigated the complex artistic landscape of the late 19th and early 20th centuries with intelligence and creativity. His paintings, prints, and designs reveal a restless artistic spirit, constantly seeking new modes of expression. As a founding president of the Society of Scottish Artists and a mentor to younger talents like the future Scottish Colourists and Canada's A.Y. Jackson, Mackie's impact extended far beyond his own studio. He was a vital catalyst, helping to shape the course of modern art in Scotland and influencing its development overseas, securing his position as a key transitional figure between Victorian traditions and 20th-century modernism.
