Examines the process whereby the collaboration of Mackintosh and Macdonald and their associates and their participation in Arts and Crafts exhibitions in London in the late 19th and early 20th cs. was interpreted by contemporary and later criticism in such a way as to separate Mackintosh from Macdonald and their (feminized) collaborative design and decorative projects: in order to claim Mackintosh as a progenitor of modernism, critics associated him with (masculinized) architecture.
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