That year he also co-exhibited with Jackson Pollock in New York, married an American citizen, Charlotte Chertok (1920–88), and his son David was born. While holidaying in Brittany in 1950, he was visited by William Scott. 1950's & the avant-garde In 1950 William Gear moved with his family to England (Loosley Row, Buckinghamshire), and in response to an Arts Council invitation to produce a work for its "Sixty Paintings for '51" exhibition, he painted "Autumn Landscape", now in the Laing Art Gallery, Newcastle. When the work was awarded a Festival of Britain purchase prize in 1951, the result was a public furore. Following a further move to the nearby Speen Farm (Flowers Bottom, Buckinghamshire), his son Robert was born the same year. In 1952, Gear produced the notable works, 'Early Spring' and 'March Landscape', both paintings similar in style, with abstract organic shapes in vibrant blues and greens. 'Early Spring' remained in the collection of Gear and remained with his Estate after he died. 'March Landscape' went directly to The Bishop Suter Art Gallery in New Zealand, purchased by Lady Mabel Annesley while on a trip to England. The Suter Trust Board questioned 'March Landscape' and Lady Annesley resigned as a gallery trustee in protest at its reaction. When 'March Landscape' went on display for the first time at The Suter, a public debate about the merits of abstract art erupted in the 'Nelson Evening Mail' in December 1952, so much so that this was reported in England. This served to confirm Gear's reputation as being one of the most avant-garde painters of his day. The painting was renamed 'Spring Landscape' by the Suter Trustees and was influential on New Zealand artists; possibly inspiring Colin McCahon (such as his 'Titirangi Kauri' paintings from 1953) and most certainly Irvine Major, whose 1967 exhibition 'Nelson in Abstract Form' owed much to this work. Awards, posts & fellowships Gear was amongst the pioneers in Britain to produce prints using the silk screen technique. He moved to Littlebourne in Kent (1953), was elected a member of the London Group, and began receiving commissions for fabric and wallpaper designs, producing about 100 over the following nine years. He was curator of the Towner Gallery in Eastbourne from 1958 to 1964, and then head of the Faculty of Fine Art at Birmingham College of Art, a post from which he retired in 1975. He became a