Archive for the ‘Bridget Riley’ Category

Focusing isn’t just an optical activity, it is also a mental one.

September 19, 2009

Bridget Riley

Cataract 1967

Bridget Louise Riley CH CBE (born April 24, 1931 in Norwood, London) is an English painter who is one of the foremost proponents of op art.

http://en.wikipedia.org/wiki/Bridget_Riley

Focusing isn’t just an optical activity, it is also a mental one.

August 5, 2009

Bridget Riley

File:Riley, Cataract 3.jpg

Cataract 3 1967

Bridget Louise Riley CH CBE (born April 24, 1931 in Norwood, London) is an English painter who is one of the foremost proponents of op art.

http://en.wikipedia.org/wiki/Bridget_Riley

His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.

July 8, 2009

Bridget Riley

 Nataraja 1993

Bridget Louise Riley CBE (born April 24, 1931 in London) is a British painter, one of the foremost proponents of op art, art exploiting the fallibility of the human eye.

Riley was born in London and studied art first at Goldsmiths College and later at the Royal College of Art, with fellow students including (Sir) Peter Blake and Frank Auerbach. She left college early to look after her sick father, and suffered a mental breakdown shortly thereafter. After recovery she took on a number of jobs, including several as an art teacher.

Towards the end of the 1950s, Riley began to produce works in a style recognisably her own. This style came from a number of sources. A study of the pointillism of Georges Seurat, and subsequent landscapes produced in that style, led to an interest in optical effects. The paintings of Victor Vasarely, who had used designs of black and white lines since the 1930s, are an obvious influence. Particularly in later works, the influence of futurists, especially Giacomo Balla, can also be discerned.

Around the end of the 1950s, Riley began to paint the black and white works for which she is probably best known today. They present straight or wavy lines (occasionally discs or squares instead), which give the illusion of movement or colour. Works in this style made up her first solo show in London in 1962. Although mainly remembered today for the impressions of movement and colour they give through the exploitation of optical illusions, it is said that the impetus for Riley making these apparently cold and calculated works was a failed love affair. One of the more famous works in this style is Fall (1963).

Riley exhibited in the 1965 New York City show, The Responsive Eye, the exhibition which first drew attention to so-called op art. One of her paintings was reproduced on the cover of the show’s catalogue, though Riley later became disillusioned with the movement, and expressed regret that her work was exploited for commercial purposes.

By the end of the 1960s, Riley was using a full range of colour. Apparently she started using colour after a trip to Egypt, where she was inspired by the colourful hieroglyphic decoration. Sometimes lines of colour are used to give a shimmering effect, while other works fill the canvas with tessellating patterns. In many works since this period, Riley has employed others to do the painting, while she concentrates on the actual design of her work.

One of Riley’s more unusual works came in 1983 when she designed the interior decoration of the Royal Liverpool Hospital. For this, she used bands of simple colour, rather than her usual more dazzling work. She has also designed sets for plays.

Riley won the International Prize for Painting at the 1968 Venice Biennale, and has had a number of major retrospective exhibitions held in several countries. In 1998 she was made a Companion of Honour.

http://metroartwork.com/bridget-riley-biography-artwork-m-44.html?sort=4a

An artist’s early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict.

April 27, 2009

Bridget Riley

Edge of Light 1981-2003

Bridget Riley was born in 1931 at Norwood, London, the daughter of a businessman. Her childhood was spent in Cornwall and Lincolnshire. She studied at Goldsmiths College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. Riley has exhibited widely since her first solo show in 1962. Among numerous exhibitions, she was included in the 1968 Venice Biennial where she won the International Prize for painting.

http://www.mishabittleston.com/artists/bridget_riley/

An artist’s failures are as valuable as his successes.. by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.

April 25, 2008

Happy Birthday Bridget Riley

Bridget Riley was born in London and studied there at Goldsmith’s College (1949-1952) and the Royal College of Art (1952-1955). She was influenced by her study of the Neo-Impressionist technique of Pointillism, but taking up ‘Op Art’ in the early Sixties she worked initially in black and white. In 1958 she was deeply impressed by the large Jackson Pollock exhibition at the Whitechapel Art Gallery in London. This was one of the reasons that led her to pursue her own art, finally leaving her job as illustrator at the J. Walter Thompson advertising agency in 1962.

In 1966 Riley turned to colour with ‘Chant’ and ‘Late Morning’. She was already receiving considerable recognition, secured in 1968 when she won the International Prize for painting at the 34th Venice Biennale. After a major retrospective in the early Seventies, Riley begins to travel extensively. Up until early 1980 she had been working on her ‘curve’ paintings, but these came to an end after a particularly inspiring sojourn in Egypt. Her extensive exploration of colour and contrast began after this. In 1983 she designed a mural made up of soothing bands of blue, pink, white and yellow for the Royal Liverpool Hospital. In the same year, she made her first set for the ballet ‘Colour Moves’ first performed at the Edinburgh Festival in 1983. Three years later she met the postmodern ‘Simulationist’ painters Philip Taaffe and Ross Bleckner, and inspired to introduce a diagonal element to her work, thus adding another dimension to her fascination with the juxtaposition of colours.

Bridget Riley is one of the finest exponents of Op Art, with her subtle variations in size, shape and position of blocks within the overall pattern. Her work is characterised by its intensity and its often disorientating effect. Indeed the term ‘Riley sensation’ was coined to describe this effect of looking at the paintings, especially her early black and white pictures. Riley is fascinated with the act of looking and in her work aims to engage the viewer not only with the object of their gaze but also with the actual process of observation.

http://www.artrepublic.com/Posters/biography/biography.asp?artist=Riley&name=Bridget