Table of Contents
- 1 Why did Bridget Riley Make Movement in Squares?
- 2 Where is movement in squares located?
- 3 How was movement in squares made?
- 4 What influenced Bridget Riley’s work?
- 5 What style movements of art is LeWitt credited in establishing a link between?
- 6 Who is Bridget Riley and what did she do?
- 7 When did Bridget Riley start painting in squares?
Why did Bridget Riley Make Movement in Squares?
About the Artist Early in her career it is said that Riley confessed to feeling a great sense of frustration over what it meant to be a modern painter. Inspired by the optical effects of the works of the 19th-century pointillist Georges Seurat, she began her investigation of non-figurative painting in the 1950s.
What technique did Bridget Riley use?
Bridget Riley (1931) is a well-known British artist celebrated since the mid-1960s for her distinctive, optically vibrant paintings, called “Op Art.” She explores optical phenomena and juxtaposes color either by using a chromatic technique of identifiable hues or by selecting achromatic colors (black, white or gray).
Where is movement in squares located?
Belvedere Road, London, Greater London SE1 8XX England.
How does the artist Bridget Riley construct rhythm and pattern in her piece Fall 1963?
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.
How was movement in squares made?
Movement in Squares She said “Everyone knows what a square looks like and how to make one in geometric terms. But as I drew, things began to change.” She created the design for Movement in Squares in one sitting without stopping, and then painted each alternate square black to provide contrast.
What is the medium of movement in squares?
Riley has written about how ‘Movement in Squares’ was born from an experimental drawing, as something happened ‘on the paper that I had not anticipated’. 471198. Medium. Silkscreen. Paper.
What influenced Bridget Riley’s work?
In 1960, Bridget Riley went to Venice where she saw sculptures by the Italian artist Umberto Boccioni. Here is one of his sculptures. She wanted to make paintings that had curves like Boccioni’s sculptures. This painting is called Nataraja and is inspired by a trip she made to India.
What inspired Bridget Riley’s Op Art?
After a trip to Egypt in the early 1980s, where she was inspired by colourful hieroglyphic decoration, Riley began to explore colour and contrast. In some works, lines of colour are used to create a shimmering effect, while in others the canvas is filled with tessellating patterns.
What style movements of art is LeWitt credited in establishing a link between?
Solomon “Sol” LeWitt (September 9, 1928 – April 8, 2007) was an American artist linked to various movements, including conceptual art and minimalism.
Who is the Conservator of Bridget Riley’s movement in squares?
Ahead of Hayward Gallery’s major Bridget Riley retrospective, which opens this month, Conservator Rachel Carey-Thomas discusses Riley’s seminal Arts Council Collection work, Movement in Squares, 1961, revealing the intricate processes and methodical approach involved in cleaning this iconic painting.
Who is Bridget Riley and what did she do?
Known for her optically vibrant paintings and distinct visual language Bridget Riley has been celebrated as one of Britain’s leading artists since the 1960s.
Why is Bridget Riley’s movement in squares anxiety inducing?
Knowing how this trick is done, though, does not diminish its impact: a painting whose perfectly balanced building blocks seem to suddenly bend and vibrate. One early critic described the experience as “anxiety”. Not just black and white …
When did Bridget Riley start painting in squares?
Riley arrived at what would become her defining modus operandi in stages, and at a time of personal crisis with a relationship breakdown. She had tried a brushy, expressive black monochrome painting, but found it lifeless. Then, in 1961, came Kiss, two black forms that nearly touch against a white background.