Description

First published to accompany a 2011 exhibition, this catalogue features three new paintings that bring Bridget Riley's exploration of the circle from the wall to the canvas, and from black and white to colour. By placing Riley’s new paintings in relation to her early gouaches, this publication highlights new directions taken by the famous British artist.

Through the layering of circles of yellow and orange in her exploration of interplaying colours, Riley asks the viewer's eye to continuously adjust as the shapes grow, compress and dance across the canvas.

Full-colour illustrations are accompanied by a conversation between Riley and Robert Kudielka from 1978, in which the artist discusses her move away from the blacks, greys and whites of her 1960s works and towards the use of the curve ‘as a rhythmic vehicle for colour’.

Bridget Riley: Paintings and Gouaches 1979–80 & 2011

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Paperback / softback by Robert Kudielka , Bridget Riley

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First published to accompany a 2011 exhibition, this catalogue features three new paintings that bring Bridget Riley's exploration of the... Read more

    Publisher: Ridinghouse
    Publication Date: 01/12/2011
    ISBN13: 9781905464487, 978-1905464487
    ISBN10: 1905464487

    Number of Pages: 40

    Non Fiction , Art & Photography

    Description

    First published to accompany a 2011 exhibition, this catalogue features three new paintings that bring Bridget Riley's exploration of the circle from the wall to the canvas, and from black and white to colour. By placing Riley’s new paintings in relation to her early gouaches, this publication highlights new directions taken by the famous British artist.

    Through the layering of circles of yellow and orange in her exploration of interplaying colours, Riley asks the viewer's eye to continuously adjust as the shapes grow, compress and dance across the canvas.

    Full-colour illustrations are accompanied by a conversation between Riley and Robert Kudielka from 1978, in which the artist discusses her move away from the blacks, greys and whites of her 1960s works and towards the use of the curve ‘as a rhythmic vehicle for colour’.

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