Bridget Riley - Selected Works

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B r i d g e t R i l e y<br />

S e l e c t e d W o r k s

<strong>Bridget</strong> <strong>Riley</strong>, (born April 24, 1931, London, England), English artist whose vibrant optical pattern paintings were central<br />

to the Op art movement of the 1960s.<br />

<strong>Riley</strong> spent her childhood in Cornwall and attended Goldsmiths College (1949–52; now part of the University of London)<br />

and the Royal College of Art (1952–55; B.A.). Until 1960 she painted primarily impressionistic landscapes and figures. Her<br />

study of the Pointillists, particularly Georges Seurat, led her to experiment with colour juxtaposition and optical effects, and<br />

under the influence of Victor Vasarely and others, her work took on a geometric abstraction, in which intricate patterns of<br />

black and white and, later, alternating colours were calculated to produce illusions of movement and topography. In 1965<br />

she participated with Vasarely, Yaacov Agam, and others in a noteworthy international exhibition entitled “The Responsive<br />

Eye” at the Museum of Modern Art (MoMA) in New York City. She won a first prize for painting at the Venice Biennale<br />

in 1968. Her notable works from this period included Drift No. 2 (1966) and Nineteen Greys (1968).<br />

<strong>Riley</strong>’s experiments with optical illusions continued throughout her career. In 1967 she introduced colour into her work,<br />

making her first stripe paintings. She sometimes broke from geometric forms in the 1970s to create what she termed curve<br />

paintings, in which waving lines give the impression of undulating movement. Notable examples include Gala (1974) and<br />

Entice 2 (1974). In the 1980s <strong>Riley</strong> introduced diagonal lines, creating a series she called rhomboid paintings. She also<br />

began to adapt her palette to match the pigments she saw on her travels to such countries as Egypt (Achæan [1981]) and<br />

India (Nataraja [1993]). Her work from the 21st century took on a more lyrical quality, its forms inspired by the arabesque,<br />

as in Rajasthan (2012). <strong>Riley</strong> also received a number of commissions for wall murals, a practice she began with the design<br />

for the Royal Liverpool Hospital in 1983. Such pieces include Bolt of Colour (2017), a temporary work for the Chinati<br />

Foundation, Marfa, Texas, and Messengers (2019), a permanent installation at the National Gallery, London.

<strong>Bridget</strong> <strong>Riley</strong> | Untitled (Chicago Seven) | 1971<br />

Silkscreen in three colours on Arches paper | Signed edition of 150 | 46 x 61 cm<br />

The entire edition was originally donated by the artist to help fund the Chicago Eight defendants. As the case was dropped<br />

for one of the original defendants in the trial, the print is sometimes referred to as Untitled (Chicago Seven)<br />

Under £20,000

<strong>Bridget</strong> <strong>Riley</strong> | Sideways | 2010<br />

Silkscreen on paper | Signed edition of 250 | 33 x 46 cm<br />

Under £13,000

<strong>Bridget</strong> <strong>Riley</strong> | Silvered 2 (21 Reds, 21 Blues, 24 Turquoise, 24 Yellows, 9 Blacks, 8 Whites) | 1995<br />

Silkscreen on paper | Signed edition of 75 | 92 x 107 cm<br />

Silvered 2 was printed in 1995 but dated 1981 by <strong>Riley</strong> to refer to the related painting Silvered made that year.<br />

Under £45,000

<strong>Bridget</strong> <strong>Riley</strong> in her studio

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