10 Facts About Bridget Riley's Lozenges

Going Across by Bridget Riley - MyArtBrokerGoing Across © Bridget Riley 2001
Jasper Tordoff

Jasper Tordoff, Specialist[email protected]

Interested in buying or selling
Bridget Riley?

Browse artworks
Bridget Riley

Bridget Riley

106 works

The Lozenges print series was created by Bridget Riley in 1989. It is an example of her exploration of colour and form and represents her Op Art style.


This series was produced over a period of a decade

Untitled (Evoe) by Bridget RileyUntitled (Evoe) by Bridget Riley, 2003

Riley's Lozenges is composed of a body of work from 1998 - 2009. It is characterised by planes of interlocking colour and geometric forms.


Riley took inspiration from dance and movement

Going Across by Bridget RileyGoing Across by Bridget Riley, 2001

Executed in a carnival of colour combinations, the sweeping motion is redolent of a dance or the undulations of nature: waves rolling on the shore, or trees being blown in the wind.


Riley's work is also inspired by her time spent in Cornwall

Two Blues by Bridget RileyTwo Blues by Bridget Riley, 2003

Although Riley’s work is consistently abstract, it is grounded in natural experience, predominantly from her adolescence spent in Cornwall, escaping war-torn London.


The natural world is important in this series

One Small Step by Bridget RileyOne Small Step by Bridget Riley

Riley confesses that the ever-changing Cornish seas and skies stimulated her vision, the sensations of which she seeks to recreate in non-representational painting.


Riley arrived at international acclaim following an exhibition at MoMA

About Lilac by Bridget RileyAbout Lilac by Bridget Riley, 2007

Riley was first propelled to international acclaim following the display of several of her black and white, optically dazzling, psychedelic works at the Museum of Modern Art in New York as a part of the 1965 exhibition The Representative Eye.


Before 1967 Riley worked exclusively in monochrome

Start by Bridget RileyStart by Bridget Riley, 2000

Up until 1967 Riley neglected tones that were not black, white or grey as part of her journey through geometry and abstraction.


Colour allowed Riley to explore emotional in art

Large Fragment by Bridget RileyLarge Fragment by Bridget Riley, 2006

Riley claimed she was foraying into “new perceptual art”: evolving art far beyond the realm of something purely aesthetic. Riley saw colour as capable of eliciting emotional responses in the observer.


Riley's exploration of colour in this series is complex

Leap by Bridget RileyLeap by Bridget Riley, 2008

Colour in this collection, like Riley’s other series, is declaratively interactive: each hue seems to change pitch and tone depending on its neighbours.


Riley created preparatory sketches for this series

Echo by Bridget RileyEcho by Bridget Riley, 1998

Despite being composed of seemingly random shapes, once one's eyes focus on the mesmerising paintings, diagonal lines appear at regular intervals across the surface: evidence that the Lozenges paintings are the result of meticulous preparatory sketching.


The colour combinations in these works will be familiar to the Riley connoisseur

Wall Painting by Bridget RileyWall Painting by Bridget Riley, 2007

Whilst some works are more limited in their range of colour, such as Going Across (2001), others share a similar rotation of colours, such as green, blue, yellow and white in Start (2000), Echo (1998) and Frieze (2000).

Buy and sell artworks