Bridget Riley Untitled (Based on Primitive Blaze) 1962 Screenprint, on smooth wove paper, with full margins, I. 16 1/2 x 12 1/2 in. (41.9 x 31.8 cm); S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) signed, dated `62' and numbered 19/40 in pencil (there were also 5 artist's proofs), a few soft handling creases in the margins, otherwise in very good condition, framed.
Literature Karsten Schubert 1a Catalogue Essay “Pollack has always been a hero of mine. But if there’s any similarity whatsoever, I have arrived at it by a very different route. The unexpected thing in his free structure is the immense control. The unexpected thing in my controlled structure is the free play of visual forces…I try to keep the constituents of any complexity simple.” Bridget Riley ‘[Bridget Riley’s] op paintings of the sixties, evolved from her desire to demonstrate that “there are some absolutes: Black is not white.” Even so, something happens at the intersection of black and white. There is a zone of dynamic mystery there that is anything but absolute.” Dave Hickey, from the exhibition catalogue Bridget Riley Paintings 1982-2000 and early works on paper, Pace Wildenstein, New York, 2000 p. 7 Read More
Bridget Riley Untitled (Based on Primitive Blaze) 1962 Screenprint, on smooth wove paper, with full margins, I. 16 1/2 x 12 1/2 in. (41.9 x 31.8 cm); S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) signed, dated `62' and numbered 19/40 in pencil (there were also 5 artist's proofs), a few soft handling creases in the margins, otherwise in very good condition, framed.
Literature Karsten Schubert 1a Catalogue Essay “Pollack has always been a hero of mine. But if there’s any similarity whatsoever, I have arrived at it by a very different route. The unexpected thing in his free structure is the immense control. The unexpected thing in my controlled structure is the free play of visual forces…I try to keep the constituents of any complexity simple.” Bridget Riley ‘[Bridget Riley’s] op paintings of the sixties, evolved from her desire to demonstrate that “there are some absolutes: Black is not white.” Even so, something happens at the intersection of black and white. There is a zone of dynamic mystery there that is anything but absolute.” Dave Hickey, from the exhibition catalogue Bridget Riley Paintings 1982-2000 and early works on paper, Pace Wildenstein, New York, 2000 p. 7 Read More
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