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Tone is an integral quality of colour, and it is my belief that it is Gillies’ mastery of tone which lies at the root of his abilities as a colourist. Significantly, he would seem to be at his happiest when his palette employs a muted range of hues; of tertiary colours usually described as ‘neutral’ – off-whites, blacks and coloured greys. His still-life paintings are études in composition, giving full rein to his powers as a designer, juggling with placement and pattern, balance and imbalance. The end product is often exquisite, revealing a sensibility of great delicacy. In their deceptive simplicity and dryness, but most of all in their sense of distillation, one is reminded of the Gymnopédies of Erik Satie.
Peter Collins ARCA (1923-2001)
Sir William Gillies is still highly underrated in Modern British terms. Born in Haddington, he trained and taught at Edinburgh College of Art, and did the latter as principal. He was a great influence on many of the next generation of the Edinburgh School. He himself studied in Paris with Andre Lhote and absorbed, variously, the work of Munch, Matisse, Braque and Bonnard. Still life and landscape oils tend to be composed studio pieces of subtle complexity. Watercolours are lyrically observed renderings of the Scottish Borders based on decisive pencil or pen drawings or for larger works, executed alla prima. Gillies had a long and fruitful relationship with The Scottish Gallery which continues in the secondary market.
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