Leading abstract artist, Gillian Ayres, pictured with her customary cigarette in hand.
British artist Gillian Ayres lived and worked in a riot of colour and energy. Her devotion to abstract painting propelled her to create some of the most dazzling works the movement has ever seen, and she is generally viewed as one of the most important abstract artists of the past century.
Ayres’ work has remained steadily popular at auction in the last two decades, particularly in the United Kingdom. Primarily remembered for her vast and vibrant abstract canvases, Ayres was also a talented and innovative printmaker; prints, in fact, account for 42% of her work sold at auction, and they usually reach prices between £1,000 and £5,000.
In interviews, Gillian Ayres came across as an unstoppable force of nature and a fascinating person. As such, it’s interesting to know some things about her when viewing her work. Below is a list of six things you might not have known about Gillian Ayres.
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Her Painting Obsession Began As A Teenager
When interviewed in her mid-eighties, Gillian Ayres recalled very clearly how, aged 13, she came across some art books in school and discovered work by the likes of Cézanne, Monet, and Van Gogh. Immediately, it made her think, “Christ, painting can do this!” From that moment on, she was “obsessed” with the medium. She remained steadily faithful to it throughout her career; even during times when it fell out of fashion and waned in popularity, Ayres continued to paint, eventually becoming one of the leading abstract artists of her generation.
Her Most Expensive Print Sold For Over £16,000
Turkish Blue and Amber Green that in the Channel Stray is a large triptych that was sold by Aspire Art Auctions in June 2019 for £16,283. Like many of Ayres’ pieces, the title is poetic but enigmatic, and the print defies easy interpretation. But interpreting Ayres’ work to find meaning isn’t really necessary; as she said, “To me, painting is a visual thing, and that’s it. People like to understand, and I wish they wouldn’t! I wish they’d just look.”
Turkish Blue and Amber Green that in the Channel Stray sold by Aspire in 2019
She Taught Art For A Long Time
Gillian Ayres held numerous teaching posts throughout her life, which brought her into contact with other artists such as Roger Hilton and Howard Hodgkin. Her teaching career culminated in being appointed head of painting at Winchester School of Art in 1978, making Ayres the first woman to hold such a position in the UK.
Though her teaching career provided Ayres with a steady income, she said that “Deep down, I suppose I always thought this was a drag and wanted to paint, really, truthfully.” In the early ‘80s, her desire to devote herself purely to painting led her to leave her position and move to a larger house in north-west Wales. In a fit of creative fervour, she made numerous pieces of work that sold well, and, eventually, she was able to make a living from painting and printmaking; work from the years that followed (such as Sikar II and Rufous) remain among her most popular pieces in today’s market.
She Was Married To Henry Mundy
In 1951, Gillian Ayres married Henry Mundy, who had been a fellow student at the Camberwell School of Arts and Crafts with her. Munday was eleven years older than Ayres and he became a very well-known painter in the 1960s. He died aged 100 only one year after her, though his habit of destroying much of his own work and staying away from the art world meant Ayres eventually became better-known than he was.
Munday and Ayres had two sons, but they divorced in 1976. A number of years later, however, after Ayres gave up teaching and moved to north-west Wales, Mundy moved in with her. Though they did not resume a romantic relationship, they lived together for the rest of their lives, working in separate studios and endlessly discussing art. Ayres acknowledged it was an unusual set up, but she said it worked because they were “Old, close friends.”
Gillian Ayres and Henry Mundy
Her Titles Don’t Link To Her Work
Gillian Ayres admitted several times that the titles of her pieces often “had nothing to do with the works” and were instead chosen because they sounded poetic and “very romantic.” Sometimes, it was Ayres’ friends who suggested them rather than the artist herself, who was happy to go along with the process, which she likened to a christening. Many of her titles (such as Blue Flame or Sikar II) sound beautiful, but don’t necessarily relate to the artworks, though in rare instances, such as Rufous, there is some connection.
She Saw The World In A Unique Way
Gillian Ayres often said that she interpreted the world through “Shapes. Spaces. And, of course, colour.” It was colour that she was particularly interested in, though she was careful to distinguish it from tone, stating firmly: “I don’t like tone. There is such a thing, but I like intensity.”
Indeed, Ayres’ prints and paintings are true explosions of colour and intensity; pieces such as Muscari (1-4) and Blue Flame abound with interesting shapes and dazzling colours, exuding a wonderful energy and love of life. Gillian Ayres’ joy in colour knew no bounds; as she said, “To me, art – colour in art – is wonderfully indulging. I don’t see why you shouldn’t be filling yourself up, making yourself happy. Enjoying yourself. Feasting on beauty.”
