Urgent Museum Notice

Bridget Riley

A black-and-white photograph of a light-skinned adult woman with dark, short-cropped hair. She is smiling slightly and is wearing a baggy sweater over a white collared shirt.

Photo courtesy of the Bridget Riley Archive

Born in 1931

Riley’s geometric, entrancing paintings incorporate simple color and bold shapes that create dizzying optical effects. In the 1960s, her work immediately permeated popular culture and designers co-opted her designs for fabrics and posters.

She earned her degrees at Goldsmiths College in London in 1952 and at the Royal College of Art’s Painting School in 1955. Riley’s interest in optical effects evolved from her study of Georges Seurat’s pointillist technique. The Post-Impressionist had painted his works using small dots of paint that, when viewed from a distance, blended together to form different color combinations.

Riley’s early work featured closely juxtaposed fields of black and white in abstract, geometric patterns. In the late 1960s, she introduced a full range of color into her paintings, allowing her to expand her experiments in perception and optics. Due to the large scale of much of her work, Riley supervises a workshop of assistants who aid in executing her large paintings.

A 1965 group exhibition at the Museum of Modern Art in New York and an honorable International Prize for Painting at the 1968 Venice Biennale, a first for a British woman artist, catapulted Riley to international recognition. The Tate Gallery, London, organized a retrospective of her work in 2003, and the Musée d’Art Moderne de la Ville de Paris presented another in 2008. Riley lives and works in London, Cornwall, and France.

Artist Details

  • Name

    Bridget Riley
  • Birth

    London, 1931
  • Phonetic Spelling

    BRIH-jiht (R-EYE)-lee

Works by Bridget Riley

Red, Turquoise, Grey, and Black Bands

Bridget Riley’s “stripe” compositions of the early 1970s, such as Red, Turquoise, Grey, and Black Bands, explore color relationships and the connection between form and color. While earlier images from the late 1960s eschewed black in favor of pure color on a white ground, Riley’s reintroduction of black into this composition marks a new phase in the artist’s body of work.

...

Painting shows eight sections of horizontal lines in muted hues of red, turquoise, and gray separated by thick black lines and spaces of white. Each color block is made of three colors, starting with grey and blues at the top, and moving progressively to warmer colors at the bottom.