bridget riley collection
); , Aldrich Museum of Contemporary Art, Ridgefield, USA, March-June 1969 (no cat. ‘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.
Further reading This period of the artist’s op art practice is represented in Tate’s collection by Fall 1963 (Tate T00616). She described ‘Pause' (conversation of 11 April 1986), with its vertical fold, as associated with the human figure, and ‘Hesitate' in contrast as like a landscape. 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.
9 août 2018 - Découvrez le tableau "Bridget RILEY" de Maèla MEUNIER sur Pinterest.
); , Aldrich Museum of Contemporary Art, Ridgefield, USA, Sept.-Dec. 1978 (no number); , Tate Gallery, Feb.-April 1986 (no number, repr. Riley passe son enfance en Cornuailles et dans le Linconshire. Riley began to paint pure geometric abstract canvases in 1961. $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. , Richard Feigen Gallery, New York, 1964 (no cat. Sometimes such works have an almost physical effect, destabilising the viewer. , 1979, p.211) but with the rectangles replaced by ellipses and circles, and with the addition of the changes of tone.
); , Aldrich Museum of Contemporary Art, Ridgefield, USA, Nov. 1964-April 1965 (55); , Aldrich Museum of Contemporary Art, Ridgefield, USA, Jan.-April 1966 (no cat.
Unions and MPs have accused the airline of taking advantage of the pandemic to slash staff costs. Riley’s Cool Edge, which featured in her Hayward Gallery retrospective last year and has an estimate worth of up to £1.2m, is the standout piece from the BA collection that will be auctioned at the Rembrandt to Richter evening event on 28 July. Does this text contain inaccurate information or language that you feel we should improve or change?
She lives and works in London, Cornwall and the Vaucluse in France. The artist is concerned that the painting should be seen as a whole, as a ‘field', and the individual parts not noticed.
‘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. One of the prints in the first portfolio Riley made, which were screen-printed onto plexiglass, uses a similar design (‘Fragment', 7/5, 1965. As the artist stated: ‘I wanted something which operated on more levels, was capable of more development, had a more “grey’d” quality, like the indeterminate nature of reality’ (Riley 1999, p.17).
Carolina Martinoli, British Airways’ director of brand and customer experience, said: “We are fortunate to have been able to showcase a wealth of artists and creativity through our artwork collection, many of which have been a special part of the design of our lounges worldwide.
Therefore the overall size of each painting is decisive when determining the placing of the compressed band, the contraction creating a visual effect which depends on an awareness of different parts of the painting at the same time. In 1964 Riley introduced variations in tone into her work, composing a series of paintings, including Hesitate, from a full palette of grey. Bridget Louise Riley (born 24 April 1931) is an English painter known for her singular op art paintings.
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 … ); , Aldrich Museum of Contemporary Art, Ridgefield, USA, Sept.-Dec. 1972 (69, repr.
She described ‘Pause' (conversation of 11 April 1986), with its vertical fold, as associated with the human figure, and ‘Hesitate' in contrast as like a, Poem of the month: Cryptographer and Hesitate: Poem of the Month. Voir plus d'idées sur le thème Op art, Art optique, Femme artiste. The recurrent tightening of the ellipses in Riley’s 1964 paintings also creates the sensation of a temporary disturbance, which is resolved by a return to the stable circle.
Oliver Barker, Sotheby’s chairman for Europe, said the collection features “the best of British art”, from British modernists to the Young British Artists of the 90s.
, exh. ); Exhibitions Fall 1972, Aldrich Museum of Contemporary Art, Ridgefield, USA, Sept.-Dec. 1972 (69, repr. The fame of such works not only epitomised the way in which art reached a wider audience in the 1960s,but also influenced fashion and a wider visual culture. Lit: Friends of the Tate Gallery, Report 1985-6, 1986, p.12 repr.
Bridget Riley, Richard Feigen Gallery, New York, 1964 (no cat.
Emulsion on board 1067 x 1124 (43 3/8 x 45 1/2) Robert Melville, 1971, A selection of Bridget Riley's paintings presented in chronological order. cat., 1978, p.47) is similar in design to ‘Hesitate', but with the ellipses forming a vertical line and the changes of tone reversed.
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 … 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 Tate Gallery 1984–86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982–84, p.257.).
cat., Kunstverein, Hannover 1970, as respectively ‘Wo' and ‘Verlust' both p.51) are similar paintings using discs, but with the fold at the centre. to help give you the best experience we can.
A proof is in the Tate Gallery, P07108).
Lorraine Mariner, This July Tamar Yoseloff presents a poem written exclusively for Tate Etc., Cryptographer, based on Cy Twombly’s Quattro Stagioni: …, 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, Presented by the Friends of the Tate Gallery 1985, Purchased from Richard Feigen Gallery, New York, by Larry Aldrich 1964; sold Sotheby's New York, 15 May 1980 (570, repr.)
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