William Gear RA1915–1997
Born in 1915, in Fife, Gear studied at Edinburgh College of Art from 1932. Upon graduating, he won a travelling scholarship, studying under Fernand Léger in Paris. His early works depicted bizarre structures in barren, post-apocalyptic landscapes, examples of which were shown in the first exhibition in Scotland of Surrealist art, in 1939. Called up in 1940, Gear met Merlyn Evans en-route to the Middle East, and Karl Otto Götz in Germany. He continued painting, staging solo exhibitions in Florence (1944) and Hamburg (1947).
In 1947 he settled in Paris, befriending Jean-Michel Atlan, Alan Davie, Hans Hartung and Pierre Soulages, among others. His work grew more abstract, with irrational shapes and a bold palette that prompted his friend Stephen Gilbert to introduce Gear to CoBrA, which allowed him to exhibit in important early CoBrA shows in Copenhagen and in Amsterdam, in 1949. Later that year, Gear’s paintings were recommended to Betty Parsons, a prominent New York dealer and champion of Modernism, who arranged for a joint-exhibition with Jackson Pollock. This was the first time his work was shown in America, and Gear was the only non-American who Pollock shared an exhibition with.
The New York show failed to launch Gear in America, and in 1950 he moved to Buckinghamshire with his new wife, where the abstracted fall of light glimpsed through tangled trees manifested itself in large, painterly canvases. A famous example is Autumn Landscape, painted for the 1951 Festival of Britain. It won a prize but its abstract nature and the fact that it was reproduced upside-down in the exhibition catalogue caused great controversy.
Gear pioneered the technique of silkscreen, and was one of the first British artists to exhibit these prints as artworks, in a mixed show at the Redfern Gallery in 1953. Gear also represented Britain at the 1952 Sao Paulo Biennial; shared exhibitions with Ivon Hitchens in London (1954) and with Sandra Blow in New York (1957); while examples of his work featured in British Council touring shows, including Seven British Artists, in 1959. In 1958, Gear was appointed curator of Towner Art Gallery in Eastbourne. However, the community was resistant to the Modernist art Gear bought, and every purchase had to overcome fierce opposition.
In 1960, two paintings were included in the Royal Academy’s Summer Exhibition—the first abstract works ever to be shown at the Academy. At the 1962 Summer Exhibition, his submissions were rejected by the RA Hanging Committee, prompting the sculptor F.E. McWilliam to resign in protest.
Gear quit his post as curator in 1964, and started teaching at Birmingham College of Arts and Crafts, where he taught Brendan Neiland. In this period, Gear painted dynamic, diagonal black armatures against vibrant detonations of colour, perfecting a new, thrilling evocation of light pulsing through foliage. From the 1970s onwards, the armatures no longer symbolised tree trunks, but jagged and irregular metal off-cuts, though the harsh forms were often complemented by warm tasches of colour. Gear spent his final years making abstractions with ink and oil-stick on paper.
Gear was made an Royal Academician aged eighty – some three decades after first exhibiting at the Academy. In February 1997, the Redfern Gallery’s Golden Jubilee Exhibition, celebrating fifty years of Gear’s output, became a memorial show, with Gear having died just days before the opening. A major retrospective was staged at Towner, and toured to City Art Centre, Edinburgh, during 2015-16.
William Gear's Estate is represented by the Redfern Gallery.
WorksPrints & Multiples Original Works
William Gear RASpring Landscape, 1967Oil on canvas182.9 x 121.9 cmSigned, titled and dated verso
William Gear RAWinter Structure, 1965Oil on canvas183 x 122 cmSigned, titled, and dated verso
William Gear RAWinter Landscape, 1963Oil on canvas122 x 81 cmSigned and dated.; signed, titled and dated verso
William Gear RASussex Landscape, 1959Oil on canvas204 x 127 cmSigned and dated; signed, titled and dated verso
William Gear RABlack and Yellow, 1957Oil on canvas71 x 101.5 cmSigned and dated; signed, titled and dated verso
William Gear RABlack Rectangle, 1957Oil on canvas81.5 x 122 cmSigned and dated recto; signed, dated, and titled verso
William Gear RABlack Square, Green Bar, 1957Oil on canvas81.5 x 122 cmSigned and dated; signed, titled and dated verso
William Gear RARed and Yellow Trunks, 1953Oil on canvas73 x 100 cmSigned and dated; signed, titled and dated verso
William Gear RAInterieur Nocturne, Paris, 1950Oil on canvas81 x 100 cmSigned, titled, and dated verso
William Gear RAPaysage, 1948Oil on canvas47 x 59 cmSigned and dated lower left recto; titled verso