Editing Bridget Riley (section)

==Seurat's way of seeing==
[[File:Georges Seurat 012.jpg|thumb|[[Georges Seurat]]'s 1886–1887 ''The Bridge at Courbevoie'', copied and enlarged by Riley, had a powerful influence on her approach to painting.<ref name="GuardianSeurat2015"/>]]
[[File:Bridget_Riley_Learning_from_Seurat_Poster_2015.jpg|thumb|right|The [[Courtauld Gallery]]'s 2015–2016 exhibition "Bridget Riley: Learning from Seurat", including her 1960 painting ''Pink Landscape'' (seen here in the poster) showed how Riley's style was influenced by [[Georges Seurat]]'s [[pointillism]] and pleasure in seeing.<ref name="GuardianSeurat2015"/><ref name=Courtauld/>]]

Riley's mature style, developed during the 1960s, was influenced by sources<ref>{{cite book|url=https://books.google.com/books?id=ZSvSfCmzo2wC&q=bridget+riley+and+futurism&pg=PA450|title=Women Artists in the 20th and 21st Century|first1=Uta|last1=Grosenick|first2=Ilka|last2=Becker|date=28 October 2001|publisher=Taschen|isbn=9783822858547|via=Google Books}}</ref> like the French [[Neo-Impressionism|Neo-Impressionist]] artist [[Georges Seurat]]. In 2015–6, the [[Courtauld Gallery]], in its exhibition ''Bridget Riley: Learning from Seurat'', made the case for how Seurat's [[pointillism]] influenced her towards abstract painting.<ref name=Courtauld>{{cite web |title=Bridget Riley: Learning from Seurat |url=http://courtauld.ac.uk/gallery/what-on/exhibitions-displays/bridget-riley-learning-from-seurat |publisher=The Courtauld Gallery |access-date=27 September 2015 |url-status=dead |archive-url=https://web.archive.org/web/20151006181903/http://courtauld.ac.uk/gallery/what-on/exhibitions-displays/bridget-riley-learning-from-seurat |archive-date=6 October 2015 }}</ref><ref name="Sooke2015">{{cite news|last1=Sooke|first1=Alastair|title=Bridget Riley: Learning from Seurat, Courtauld, review: 'a rare insight into an artist's mind'|url=https://www.telegraph.co.uk/art/what-to-see/bridget-riley-learning-from-seurat-courtauld-review/|access-date=17 January 2018|work=[[The Daily Telegraph|The Telegraph]]|date=21 September 2015}}</ref> As a young artist in 1959, Riley saw ''[[:File:Seurat, The Bridge at Courbevoie, Courtauld Gallery.jpg|The Bridge at Courbevoie]]'', owned by the Courtauld, and decided to paint a copy. The resulting work has hung in Riley's studio ever since, barring its loan to the gallery for the exhibition, demonstrating in the opinion of the art critic [[Jonathan Jones (journalist)|Jonathan Jones]] "how crucial" Seurat was to her approach to art.<ref name="GuardianSeurat2015">{{cite news |last1=Jones |first1=Jonathan |title=Bridget Riley review – pounding psychedelic art that will make you see the world differently |url=https://www.theguardian.com/artanddesign/2015/sep/16/bridget-riley-learning-from-seurat-review-london |access-date=17 January 2018 |work=[[The Guardian]] |date=16 September 2015}}</ref> Riley described her copy of Seurat's painting as a "tool", interpreted by Jones as meaning that she, like Seurat, practised art "as an optical science"; in his view, Riley "really did forge her optical style by studying Seurat", making the exhibition a real meeting of old and new.<ref name="GuardianSeurat2015"/> Jones comments that Riley investigated Seurat's pointillism by painting from a book illustration of Seurat's ''Bridge'' at an expanded scale to work out how his technique made use of [[complementary colours]], and went on to create pointillist landscapes of her own, such as ''Pink Landscape'' (1960),<ref name="GuardianSeurat2015"/> painted soon after her Seurat study<ref name="Sooke2015"/> and portraying the "sun-filled hills of [[Tuscany]]" (and shown in the exhibition poster) which Jones writes could readily be taken for a post-impressionist original.<ref name="GuardianSeurat2015"/> In his view, Riley shares Seurat's "joy for life", a simple but radical delight in colour and seeing.<ref name="GuardianSeurat2015"/>