Bridget riley brief biography of mozart
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by Bridget Riley (, × mm, polyvinyl acetate paint on hardboard, Tate Britain, London, UK)
The gallery label reads:
‘I try to organise a field of visual energy which accumulates until it reaches maximum tension’, Riley said of this work. From to she worked with the contrast of black and white, occasionally introducing tonal scales of grey. In Fall, a single perpendicular curve is repeated to create a field of varying optical frequencies. Though in the upper part a gentle relaxed swing prevails, the curve is rapidly compressed towards the bottom of the painting. The composition verges on the edge of disintegration without the structure ever breaking.
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Circumstances require me to travel back to Dublin via London today, so I took the opportunity to spend an hour or so at the wonderful Bridget Riley retrospective at the Hayward Gallery. The exhibition is on until January 26th and I recommend it very enthusiastically.
I took a few pictures, but none of them give an adequate impression of the experience of seeing them in the flesh.
These three deceptively simple compositions made from coloured stripes play with the eye&#;s colour perception, seeming to change in texture and hue as the observer changes position or viewing angle.
The &#;rhomboid&#; pictures like this one November use changes in colour to disrupt the brain&#;s interpretation of the two-dimensional nature of the painting. The rhombi seem to rise and fall, the surface buckling as a result.
From the black and white collection this is Movement in Squares which uses simple changes in shape to imply depth, but also creates a visual instalibity to the perception
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Bridget Riley: ‘I keep ansträngande to push age away’
Although Bridget Riley’s Victorian house in London is redolent of the Georgian architecture in Bath, her uncompromising commitment to modernity becomes clear when I enter the spacious ground-floor room. Vibrant paintings alive with striped colours pulsate on the vit walls, and Riley greets me with an irrepressible sense of energy. Now 87, and dressed in a simple white shirt with black trousers, she looks ready for action.
Today, her excitement fryst vatten focused on a lucid model of the Sprüth Magers galleri in Los Angeles, where her large exhibition Painting Now will open on November Riley encourages me to kneel down and gaze through the model’s front door and fönster. The spacious interior fryst vatten dominated bygd a gigantic wall-painting called “Quiver 3”. Its strong emphasis on black-and-white forms is redolent of her monochromatic paintings of the early s, when Riley suddenly gained an international reputation as an audacious Op artist. Sh