‘Pause' 1964 (115.5 x 115.5, 45 1/4 x 45 1/4, private collection, repr. in col.), , BC, exh. invited a selection of contemporary artists to choose a favoured work from a fellow artist – past or …, Tamar Yoseloff Seven other Riley prints are included in the two sales as well as others by Marc Quinn and Julian Opie, while Peter Doig’s Grasshopper portfolio is also featured, as are paintings by Terry Frost and Patrick Heron. Exhibition catalogue, Hayward Gallery, 1971 - her first retrospective in the UK, Loss Bridget Riley 1964 Emulsion on Board 117 x 117 cm, Artwork page for ‘Coloured Greys III’, Bridget Riley, 1972, An illustrated biography of Briget Riley. ‘Where' 1964 (107 x 113, 39 1/8 x 44 1/2, private collection, New York) and ‘Loss' 1964 (117 x 117, 46 x 46, private collection, repr. This entry has been approved by the artist. This combination of shifting tone and changing shapes gives the viewer the impression of motion in the painting, as if two horizontal abutting cylinders are receding into the painting, or as if a wave is oscillating across its surface. This referred to the optical effects that dominate the viewer’s experience of the painting.
Robert Melville, 1971, A selection of Bridget Riley's paintings presented in chronological order. ), Bridget Riley, exhibition catalogue, Tate Britain, London 2003. ); , Aldrich Museum of Contemporary Art, Ridgefield, USA, Nov. 1964-April 1965 (55); , Aldrich Museum of Contemporary Art, Ridgefield, USA, Jan.-April 1966 (no cat. Also repr. Biographie.
In this case, however, the gradual changes in the shape of the grey forms seem to suggest two abutting cylinders receding into the picture frame. The 1964 paintings were studied in a group of small gouaches, from which some were selected to be enlarged. Artwork page for ‘Fall’, Bridget Riley, 1963 ‘I try to organise a field of visual energy which accumulates until it reaches maximum tension’, Riley said of this work.
Collection de films Vendre Reproductions ... Bridget Riley, née le 24 avril 1931 à Londres, en Angleterre, dans le quartier de Norwood, est une artiste peintre britannique d'origine anglaise. Emulsion on board 1067 x 1124 (43 3/8 x 45 1/2) Inscribed ‘Riley '64' on lower left edge, and ‘ TOP | BRIDGET RILEY | 1964 | EMULSION ON BOARD | 44 1/4 x 42 inches | HESITATE' on back at centre Depuis le début des années 1960, cette artiste de renommée internationale développe une œuvre abstraite fondée sur l’exploration des effets optiques de …
Each of the works in the series have titles that imply emotional tension – a reflection on the increased nuance in Riley’s paintings after the introduction of tone.
); The Sixties Collection Revisited, Aldrich Museum of Contemporary Art, Ridgefield, USA, Sept.-Dec. 1978 (no number); Forty Years of Modern Art 1945-1988, Tate Gallery, Feb.-April 1986 (no number, repr. The artist is concerned that the painting should be seen as a whole, as a ‘field', and the individual parts not noticed. Bridget Riley, née le 24 avril 1931 à Londres, en Angleterre, dans le quartier de Norwood, est une artiste peintre britannique d'origine anglaise. (The Tate Gallery 1984–86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982–84, p.257.). and cat., 1978, p.47) is similar in design to ‘Hesitate', but with the ellipses forming a vertical line and the changes of tone reversed. Exh: ? The sale will help the airline demonstrate its commitment to making any savings possible before shedding staff. In 1964 Riley introduced variations in tone into her work, composing a series of paintings, including Hesitate, from a full palette of grey. ); Exhibitions Fall 1972, Aldrich Museum of Contemporary Art, Ridgefield, USA, Sept.-Dec. 1972 (69, repr. BA’s losses during the coronavirus crisis, reduce the pay, terms and conditions of thousands.
The Tate Gallery 1984–86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982–84, London 1988, pp.256–7, reproduced.Bridget Riley, ‘The Experience of Painting’, in The Eye’s Mind: Collected Writings 1965–1999, ed. ); Old Hundred, Aldrich Museum of Contemporary Art, Ridgefield, USA, Nov. 1964-April 1965 (55); Selections from the Museum Collection, Aldrich Museum of Contemporary Art, Ridgefield, USA, Jan.-April 1966 (no cat. Bridget Riley, exh. by Robert Kudeika, London 1999, pp.89–90.Paul Moorhouse (ed. The paintings were made with emulsion on a hardboard panel that had been cut and assembled commercially, and were drawn first using a compass, and with templates for the larger ellipses (the smaller ones were drawn freehand). ‘Pause' itself develops an idea in an earlier painting ‘Movement in Squares' 1961 (Arts Council Collection, repr. Prov: Purchased from Richard Feigen Gallery, New York, by Larry Aldrich 1964; sold Sotheby's New York, 15 May 1980 (570, repr.) This period of the artist’s op art practice is represented in Tate’s collection by Fall 1963 (Tate T00616). © Bridget Riley 2020. Son œuvre, basée sur des formes géométriques et des effets d'optique, s'inscrit dans le mouvement Op Art. Tue 14 Jul 2020 11.54 EDT 90 British Airways is selling its multimillion-pound art collection, including work by Bridget Riley and Damien Hirst, as …
Does this text contain inaccurate information or language that you feel we should improve or change? $11,000 bt Juda Rowan Gallery; bt private collector 1980 sold to Juda Rowan Gallery 1985; purchased by the Friends of the Tate Gallery 1985 Beginning in 1961 with The Kiss (collection of the artist), Riley sought to effect a sense of kinetic movement in two-dimensions using only geometric and curvilinear monochrome elements. The orientation of this work is indicated by an arrow and the word ‘TOP’, which is drawn onto the back of the board. The auction is likely to only scratch the surface of BA’s losses during the coronavirus crisis after the carrier grounded most of its fleet in late March, with most routes only restarting later this month. From 1961 to 1964 she worked with the contrast of black and white, occasionally introducing tonal scales of grey. Presented by the Friends of the Tate Gallery 1985 The overall size of each painting is crucial to the placing of the fold and to the visual effect, which depends on an awareness of the contrast between different parts at the same time. 9 août 2018 - Découvrez le tableau "Bridget RILEY" de Maèla MEUNIER sur Pinterest.
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