Mary Louise Coulouris (1939-2011) was a prolific printmaker, painter and muralist whose vibrant images were exhibited widely. The richness of her palette derived from her love of Greece, where her family's roots lay.
Coulouris studied under William Coldstream and Anthony Gross
Her father was the actor George Coulouris, who was born in Manchester to a Greek father and an English mother. Mary Louise was born, like her older brother, in New York. With his American wife, Louise, George had made his way to Broadway and into minor American movies before appearing in Orson Welles's Citizen Kane in 1941.
Following St Paul's girls' school and Parliament Hill school in London, Coulouris attended Chelsea School of Art for two years. She then completed a three-year diploma at the Slade School of Fine Art (1958-61) under William Coldstream, learning etching from Anthony Gross, followed by a year's postgraduate course. After winning a French government scholarship, she spent two years in Paris, at the Ecole des Beaux-Arts and at Atelier 17 under the master printmaker Stanley William Hayter.
While she established herself as an artist, she taught part-time for eight years at London colleges; at Wolverhampton; and later for the Open College of the Arts, and classes in Scotland and Greece.
In 1971 Coulouris married a Glaswegian civil engineer, Gordon Wallace, whom she met while sketching by the Regent's canal in north London. In 1976 they settled in Linlithgow, West Lothian, where she established her studio. By then, as well as group show appearances, she had had four solo exhibitions, the first in Paris in 1964, another at the Ferens art gallery, Hull, in 1967 and two at the Boadicea gallery, London, in 1970 and 1972.
From the 1980s, Coulouris produced a huge body of work, interspersed with a range of prizes, scholarships and residencies. Public art included murals for Linlithgow railway station in 1985 and Royal Edinburgh hospital, 1990; designs for rugs for the new Scottish Poetry Library, Edinburgh, 1999; tapestry for Yale College, Wrexham, 2002; and watercolours for the House of Lords, 2004. The Graphothek Berlin; Ashmolean Museum, Oxford; Bibliothèque Nationale, Paris; and the New York Public Library were among numerous public, corporate and private collections that have acquired her work.
Coulouris wrote that her paintings were inextricably linked to a living European humanist tradition. Drawing and colour were key elements. "I am not very enthusiastic about postmodernist ideas which reject painting as well as modernism. I suppose I am a post-postmodernist." [www.theguardian.com/artanddesign/2012/feb/02/mary-louise-coulouris]