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Lot 175
BRIDGET RILEY, C.H. (B. 1931)
Orange, Violet and Green, Elongated Triangle Study
Closed20 October 2022
Price Realised
GBP 94,500
More Information
BRIDGET RILEY, C.H. (B. 1931)
Orange, Violet and Green, Elongated Triangle Study
signed, inscribed and dated 'Orange Violet and Green, elongated triangle study - Bridget Riley '68' (upper right)
gouache and pencil on paper
39 x 27 in. (99.1 x 68.6 cm.)
Executed in 1968.
Orange, Violet and Green, Elongated Triangle Study
signed, inscribed and dated 'Orange Violet and Green, elongated triangle study - Bridget Riley '68' (upper right)
gouache and pencil on paper
39 x 27 in. (99.1 x 68.6 cm.)
Executed in 1968.
BRIDGET RILEY, C.H. (B. 1931)
Orange, Violet and Green, Elongated Triangle Study
signed, inscribed and dated 'Orange Violet and Green, elongated triangle study - Bridget Riley '68' (upper right)
gouache and pencil on paper
39 x 27 in. (99.1 x 68.6 cm.)
Executed in 1968.
Orange, Violet and Green, Elongated Triangle Study
signed, inscribed and dated 'Orange Violet and Green, elongated triangle study - Bridget Riley '68' (upper right)
gouache and pencil on paper
39 x 27 in. (99.1 x 68.6 cm.)
Executed in 1968.
with Rowan Gallery, London, where purchased by the present owner's parents circa 1968, and by descent.
Executed in 1968, just one year after introducing pure colour into her practice, the present work exemplifies Bridget Riley’s growing fascination with the chromatic complexities of optical perception that would occupy her for many decades. A pivotal time in her long and successful career, 1968 was the year that Riley was awarded the International Prize for Painting at the XXXIV Venice Biennale. As the first British contemporary painter and the first woman to achieve this prize, Riley is one of the most celebrated British artists working today.
Orange, Violet and Green, Elongated Triangle Study demonstrates Riley’s preoccupation in the 1960s with the line as a formal vehicle for rhythmic fields of colour. Made up of three sets, Riley interchanges vertical and diagonal lines to create a dynamic sense of movement. The eye is invited to travel in an organic movement across the page, as the orange, violet, and green pigments oscillate luminously across the paper. As Riley herself explains: ‘I do not select single colours but rather pairs, triads or groups of colour which taken together act as generators of what can be seen through or via the painting’ (Bridget Riley, “The Pleasures of Sight,” in exhibition catalogue, London, Tate Britain, Bridget Riley, 2003, p. 213).
Orange, Violet and Green, Elongated Triangle Study demonstrates Riley’s preoccupation in the 1960s with the line as a formal vehicle for rhythmic fields of colour. Made up of three sets, Riley interchanges vertical and diagonal lines to create a dynamic sense of movement. The eye is invited to travel in an organic movement across the page, as the orange, violet, and green pigments oscillate luminously across the paper. As Riley herself explains: ‘I do not select single colours but rather pairs, triads or groups of colour which taken together act as generators of what can be seen through or via the painting’ (Bridget Riley, “The Pleasures of Sight,” in exhibition catalogue, London, Tate Britain, Bridget Riley, 2003, p. 213).
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