Bridget Riley: Paintings and Gouaches 1979-80 and 2011

Robert Kudielka

ISBN 10: 1905464487 / ISBN 13: 9781905464487

Published by Ridinghouse, GB, 2011

About this Item

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'.

Seller Inventory # LU-9781905464487

Bibliographic Details

• Title: Bridget Riley: Paintings and Gouaches 1979-80 and 2011
• Publisher: Ridinghouse, GB
• Publication Date: 2011
• Language: English
• ISBN 10: 1905464487
• ISBN 13: 9781905464487
• Binding: Paperback
• Condition: New

About this title

Synopsis

Placing new paintings by Bridget Riley in relation to her early gouaches, this publication highlights the important new directions taken by the famous British artist.

Accompanying an exhibition of the same name at Karsten Schubert, London, this catalogue features three new paintings which bring Riley's exploration of the circle from the wall to the canvas, and from black and white to colour.

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

Full-colour illustrations are accompanied by a conversation between Bridget 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’.