Bridget Riley

Painter

Bridget Riley was born in West Norwood, England, United Kingdom on April 24th, 1931 and is the Painter. At the age of 93, Bridget Riley biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

Date of Birth
April 24, 1931
Nationality
United Kingdom
Place of Birth
West Norwood, England, United Kingdom
Age
93 years old
Zodiac Sign
Taurus
Profession
Painter
Bridget Riley Height, Weight, Eye Color and Hair Color

At 93 years old, Bridget Riley physical status not available right now. We will update Bridget Riley's height, weight, eye color, hair color, build, and measurements.

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Bridget Riley Religion, Education, and Hobbies
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Hobbies
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Education
Goldsmiths College, Royal College of Art
Bridget Riley Spouse(s), Children, Affair, Parents, and Family
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Bridget Riley Life

Bridget Louise Riley (born 24 April 1931) is an English painter well-known for Op art.

She lives and works in London, Cornwall, and the Valiantse in France.

Early life and education

Riley was born in Norwood, London, on April 24th, 1931. John Fisher Riley, a Yorkshire man, had been an Army officer for the past. He was a printer by trade and owned his own business. He and his family moved the printing company to Lincolnshire in 1938.

Her father, a Territorial Army soldier, was mobilized, and Riley, along with her mother and sister Sally, moved to a cottage in Cornwall at the start of World War II. The cottage, which is not far from the sea near Padstow, was shared with an aunt who was a former student at Goldsmith' College, London. Non-qualified or retired teachers' lectures supplemented primary education. She attended Cheltenham Ladies' College (1946–1958) and later at the Royal College of Art (1952–55).

She cared for her father, who had been involved in a serious car accident between 1956 and 1958, who had been involved in a serious car accident. She had a breakdown as a result of her father's health's deterioration. She began working in a glassware store after this. She then joined the J. Walter Thompson advertising company as an illustrator, where she worked part-time until 1962. Jackson Pollock's exhibition in the winter of 1958 had an effect on her.

Her early career was both figurative and semi-impressionist. Her work at the advertising company showed her that she had introduced a pointillist style of painting between 1958 and 1959. Around 1960, she began to create her signature Op Art style, which consisted of black and white geometric designs that explore sight dynamism, produce a disorienting effect on the eye, and produce movement and color. She and her mentor Maurice de Sausmarez visited Italy in the summer of 1960, and the two friends visited the Venice Biennale for its large exhibit of Futurist works.

Riley began teaching children at the Convent of the Sacred Heart of Harrow, 1957 to 1958 (now known as Sacred Heart Language College). She began a basic design course at the Convent of the Sacred Heart. She taught Loughborough School of Art (1959), Hornsey College of Art, and Croydon College of Art (1962–64).

In 1961, she and her partner Peter Sedgley visited the Valiant plateau in France's South of France and purchased a derelict farm that was later converted into a studio. Victor Musgrave of Gallery One held her first solo exhibition in London in 1962.

Riley formed the artists' group SPACE in 1968, with Sedgley and journalist Peter Townsend, with the intention of providing artists with large and affordable studio space.

Source

CRAIG BROWN: Turning departure lounges in airports into galleries of the art museums is the ultimate way to beat terminal boredom

www.dailymail.co.uk, July 20, 2023
CRAIG BROWN: The Royal Fine Art Commission asked me to contribute to a book of short essays on how to protect our surroundings in honor of Coronation. For a long time, I have favoured halting all road work. This will save money, reduce traffic, and encourage us all to travel with greater caution. We spend a lot of time and money on our roads, but then we spend even more time and money on speed bumps, speed cameras, and speed limits to make them faster. We should not allow our highways to deteriorate. They will be back to bumpy tracks before long, so lorries and lorries will have to drive cautiously, with no need for any of the expensive and unsanitary equipment.