Bridget riley who is she




















Fold , Start , Wall Painting 1 [Print] , Red Red Blue , Untitled [based on Blaze] , Intervals 2 , Study for Measure for Measure 40 , David Zwirner. Study for Measure for Measure Dark 2 , Untitled Fragment 2 , Hang-Up Pictures. Arcadia 4 , Riley moved into teaching and from she taught art to girls aged at the Convent of the Sacred Heart, Harrow, introducing them to the sequences of shape, line and groups of colour, hoping to release their truly creative impulses and to discourage blind copying of the real world.

Bridget started to paint again during this period in a more exploratory style — the main influences being Matisse and Bonnard and she started to visit exhibitions again and renew contact with the art world.

Thubron tried to show how modern painting was evolving in America and other European countries than the UK. He spoke of organic form, colour and form progressions and spatial investigation. Riley was fascinated and, after applying for a teaching post at Loughborough College of Art, she took leave from J. Pink landscape — Bridget Riley — Oil on Canvas In the summer of Bridget Riley travelled, painted and visited galleries in Italy with de Sausmarez and was enchanted by the black and white Romanesque buildings of Pisa and the churches of Ravenna.

She also refers to seeing and admiring the work of the Italian Futurist painters Boccioni and Balla. She was encouraged by her teacher, Maurice de Sausmarez d , to study the art of Georges-Pierre Seurat. On her return, she took a part-time teaching post Hornsey College of Art , under the direction of de Sausmarez. The following year Riley moved to Croydon School of Art She also continued to work part time at J. Walter Thompson a position she also left in At Hornsey, Riley began her first Op Art paintings, working only in black and white and using simple geometric shapes — squares, lines and ovals.

Although she investigated many areas of perception, her work, with its emphasis on optical effects was never intended to be an end in itself. It was instinctive, not based on theory but guided by what she saw with her own eyes. Whilst teaching at Croydon, Bridget gained her first critical recognition. In the spring of she had her first solo show, at Gallery One in London, a defining moment. Tickets sold out on the first day that they went on sale — a remarkable achievement for an artist who was still in her early thirties.

Pause — Bridget Riley — Emulsion on board Op Art captured the imagination of the public and became part of the swinging sixties. The fashion, design and advertising industries fell in love with its graphic, sign-like patterns and decorative value.

The basis of the Op Art movement was a form of geometric abstraction, which was in a way impersonal and not obviously related to the real world. I started studying squares, rectangles, triangles and the sensations they give rise to… It is untrue that my work depends on any literary impulse or has any illustrative intention.

The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting. The black and white paintings depended on the disruption of stable elements. No such stable basis could be found for colour as the perception of colour is relative — each colour affects and is affected by the colours next to it.

This painting is called Nataraja and is inspired by a trip she made to India. Nataraja means Lord of the Dance, and refers to the Hindu god Shiva. She thought this painting looked a bit like a dance too, with its diagonal lines and bright colours. Do you think it does? The composition of the painting is quite simple, just a lot of rectangles — but sometimes the simplest things can seem complex. Who is Bridget Riley? Look out! You are about to be dazzled by the magical, moving art of Bridget Riley.



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