Bridget RileyVereinigtes Königreich, 1931Study for the painting 'Pause'
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Victoria and Albert Museum
London, Vereinigtes Königreich
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After training in London at both Goldsmith's College and the Royal College of Art, Bridget Riley (born 1931) worked for an advertising agency. While there she designed the Woolmark company’s logo, a widely admired, simple and striking visual image. Riley's paintings are extremely subtle in colour and measurement. The result, as here, is an amazing visual experience: sensual, sensitive and sensational. The other extraordinary effect of Riley's work lies in the fascination of the lines and colours, which can be hypnotic, combined with both a feeling of tranquillity and a reaction of energetic excitement.
Victoria and Albert Museum
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- Inventarnummer
- CIRC.242-1965
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- Victoria and Albert Museum
- Bild: Victoria and Albert Museum — © Victoria and Albert Museum, London
Derweil im Leben von Bridget Riley
Das ganze Leben1957–1964
Teaching in schools and colleges of art
In 1957–58 she works as an art teacher for children at the Convent of the Sacred Heart, Harrow, where she begins a basic design course; later she teaches at the Loughborough School of Art (1959), Hornsey College of Art and Croydon College of Art (1962–64).
spring 1962
First solo show at Gallery One
In the spring of 1962 Victor Musgrave of Gallery One holds her first solo exhibition in London; the black-and-white works are shown in numerous subsequent shows too.
1963–1964
The AICA and John Moores prizes
In 1963 she is awarded the AICA Critics Prize as well as the John Moores Liverpool Open Section Prize, and a year later a Peter Stuyvesant Foundation Travel bursary.
1965
“The Responsive Eye” at MoMA
She takes part in “The Responsive Eye,” curated by William C. Seitz at the Museum of Modern Art in New York, the exhibition that first draws worldwide attention to her work and to the Op Art movement; her painting “Current” (1964) is reproduced on the catalogue cover. Artists had no copyright protection in the United States at the time and commercial concerns exploited her work, which leaves her disillusioned with such exhibitions; legislation was eventually passed in 1967 after an initiative by New York-based artists.
