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曖昧さ回避 the boxerについては「Bridgett Riley」をご覧ください。

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Bridget Riley
本名 ブリジット・ルイーズ・ライリー
誕生日 (1931-04-24) 1931年4月24日（93歳）
出生地 ノーウッド, ロンドン, 英国
国籍 British
運動・動向 オプ・アート
芸術分野 絵画とドローイング
教育 Goldsmiths College, Royal College of Art
テンプレートを表示

ブリジット・ルイーズ・ライリー CH CBE (1931年4月24日生まれ）はオプ・アートを代表するイギリスの画家[1]。 現在、ロンドン、コーンウォール、フランスのヴォクリューズに居を構え制作している[2]。

若年期と教育歴[編集]

ライリーは1931年、ロンドンのノーウッドに生まれた[1]。 祖父は軍の将校だった。父、ジョン・フィッシャー・ライリーはヨークシャー出身で、画家と自営業を営んでいた。1938年に彼は家族とともに印刷業の拠点をリンカンシャーに移した[3]。

第二次世界大戦の開戦と共に彼女の父は軍に招集され、ブリジットは母、姉妹のサリーと共にコーンウォールのコテージに引っ越した[4]。このパドストウ近郊の海から遠くないコテージで、かつてロンドンのゴールドスミス・カレッジで学んだ叔母と同居した。無資格の教師や退職した教師による不定期な談話やレクチャーという形で初等教育を受けた[5]。彼女はチェルトナム・レディース・カレッジ（1946−1948）の後、ゴールドスミス・カレッジ（1946−1948）、その後、ロイヤル・カレッジ・オブ・アート（1952−55）に通った[6]。

1956年から1958年にかけて彼女は、深刻な自動車事故に巻き込まれた父の看病をする。父の健康状態の悪化によって、彼女は衰弱した。その後、彼女はガラス食器の店で働く。その後1962年まで、J・ウォルター・トンプソン広告会社でイラストレーターとして働いた。1958年の冬にホワイトチャペル・ギャラリーで開催されたジャクソン・ポロックの大きな展覧会は、彼女に大きな影響を与えるものだった[5]。

彼女の初期作品は、いくぶん印象派のスタイルを持った具象画である。1958年から59年にかけて広告会社で制作した作品には点描派のテクニックを採用したものがある[7]。 1960年前後に、彼女の特徴である、視覚のダイナミズムを探求し、方向感覚を失わせる視覚効果と色彩の運動を生み出す白黒の幾何学模様で構成されたオプ・アートスタイルを発展させた[6]。 1960年の夏、メントール・モーリス・ド・ソーマレズとイタリアを訪れ、ヴェネチィア・ビエンナーレと未来派の大きな展覧会を見た[5]。

キャリアの初期、1957−58年からライリーは（現在はザ・サクレッド・ハート・ランガージュ大学として知られる）サクレッド・ハート修道院で子供達に美術を教える教師として働いた。サクレッド・ハート修道院で彼女は基礎デザインコースを作った。その後、彼女はラフバラー・スクール・オブ・アート（1959）、ホーンジーカレッジ・オブ・アートとクロイドン・カレッジ・オブ・アート（1962-64）で仕事をした[8]。

1961年に、彼女はパートナーのピーター・セジリーと共に南フランスのヴォクリューズを訪れ、後にアトリエに改装されることになる廃農園を手に入れた。1962年の春に最初の個展が開かれたロンドンのヴィクター・マスグレイブのアトリエに戻った[5]。

1968年、彼女はピーター・セジリー、ジャーナリストのピーター・タウンゼントと共に、アーティストに広く快適なアトリエを提供することを目標としたアーティスト組織SPACE（Space Provision Artistic Cultural and Educational）を設立した[9][10]。

スーラのものの見方Seurat's way of seeing[編集]

Georges Seurat's 1886-1887 The Bridge at Courbevoie, copied and enlarged by Riley, had a powerful influence on her approach to painting.[11]
ファイル:Bridget Riley Learning from Seurat Poster 2015.jpg
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 George Seurat's pointillism and pleasure in seeing.[12][11]

1960年代に展開されたライリー円熟期のスタイルに影響を与えたもの[13]はいくつかあるが、フランスのポスト印象派の画家ジョルジュ・スーラもそのひとりである。2015−6年にコートールド・ギャラリーで開かれた「ブリジット・ライリー：スーラに学ぶ」展では、スーラの点描技法がどのようにライリーに影響を与え、抽象画へ向かわせたのか実証されている。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.[12][14] 1959年、若手アーティストだったライリーはコートールド所蔵の《クールブヴォアの橋》を見て、模写することにした。As a young artist in 1959, Riley saw The Bridge at Courbevoie, owned by the Courtauld, and decided to paint a copy. その結果生まれた作品はそれ以来、展覧会に貸し出される時をのぞいて、ずっとライリーのアトリエに掛けられている。その絵は、美術批評家ジョナサン・ジョーンズによれば、ライリーのアートへの取り組みにスーラがいかに決定的な影響を与えたか示している。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 "how crucial" Seurat was to her approach to art.[11] ライリーはそのスーラの模写を「道具」と表現している。ジョーンズの解釈によれば、それは彼女がスーラのように、「視覚の科学として」としてアートを実践したことを意味している。つまりジョーンズによれば、この展覧会はまさに古いものと新しいものの出合う場となり、ライリーは「本当にスーラの研究から自身の視覚的なスタイルを作り上げた」のだ。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.[11] ジョーンズは記している、ライリーはスーラの点描技法を調査したｔJones notes 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),[11] painted soon after her Seurat study[14] 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.[11] In his view, Riley shares Seurat's "joy for life", a simple but radical delight in colour and seeing.[11]

Work[編集]

It was during this time that Riley began to paint the black and white works for which she is best known. They present a great variety of geometric forms that produce sensations of movement or colour. In the early 1960s, her works were said to induce sensation in viewers as varied as seasick and sky diving. From 1961 to 1964 she worked with the contrast of black and white, occasionally introducing tonal scales of grey. Works in this style comprised her first 1962 solo show at Musgrave's Gallery One, as well as numerous subsequent shows. For example, in Fall, a single perpendiculars curve is repeated to create a field of varying optical frequencies.[15] Visually, these works relate to many concerns of the period: a perceived need for audience participation (this relates them to the Happenings, for which the period is famous), challenges to the notion of the mind-body duality which led Aldous Huxley to experiment with hallucinogenic drugs;[16] concerns with a tension between a scientific future which might be very beneficial or might lead to a nuclear war; and fears about the loss of genuine individual experience in a Brave New World.[17] Her paintings since 1961, have been executed by assistants from her own endlessly edited studies.[4] While Riley meticulously plans her compositions with preparatory drawings and collage techniques, it is her assistants who paint the final canvases with great precision.

ファイル:Riley, Shadowplay.jpg
Shadow Play, 1990, oil on canvas

Riley began investigating colour in 1967, the year in which she produced her first stripe painting.[18] Following a major retrospective in the early 1970s, Riley began travelling extensively. After a trip to Egypt in the early 1980s, where she was inspired by colourful hieroglyphic decoration, Riley began to explore colour and contrast.[19] In some works, lines of colour are used to create a shimmering effect, while in others the canvas is filled with tessellating patterns. Typical of these later colourful works is Shadow Play.

In many works since this period, Riley has employed others to paint the pieces, while she concentrates on the actual design of her work[20] Some are titled after particular dates, others after specific locations (for instance, Les Bassacs, the village near Saint-Saturnin-lès-Apt in the south of France where Riley has a studio).[21]

Following a visit to Egypt in 1980–81 Riley created colours in what she called her 'Egyptian palette'[22] and produced works such as the Ka and Ra series, which capture the spirit of the country, ancient and modern, and reflect the colours of the Egyptian landscape.[7] Invoking the sensorial memory of her travels, the paintings produced between 1980 and 1985 exhibit Riley's free reconstruction of the restricted chromatic palette discovered abroad. In 1983 for the first time in fifteen years, Riley returned to Venice to once again study the paintings that form the basis of European colourism. Towards the end of the 1980s Riley's work underwent a dramatic change with the reintroduction of the diagonal in the form of a sequence of parallelograms used to disrupt and animate the vertical stripes that had characterised her previous paintings.[23] In Delos (1983), for example, blue, turquoise, and emerald hues alternate with rich yellows, reds and white.[24]

Murals[編集]

Riley has painted temporary murals for the Tate, the Musée d'Art Moderne de la Ville de Paris and the National Gallery. In 2014, the Imperial College Healthcare Charity Art Collection commissioned her to make a permanent 56-metre mural for St Mary's Hospital, London; the work was installed on the 10th floor of the hospital's Queen Elizabeth Queen Mother Wing, joining two others she had painted more than 20 years earlier.[25]

On the nature and role of the artist[編集]

Riley made the following comments regarding artistic work in her lecture Painting Now, 23rd William Townsend Memorial Lecture, Slade School of Fine Art, London, 26 November 1996:[26][27]

Beckett interprets Proust as being convinced that such a text cannot be created or invented but can only be discovered within the artist himself, and that it is, as it were, almost a law of his own nature. It is his most precious possession, and, as Proust explains, the source of his innermost happiness. However, as can be seen from the practice of the great artists, although the text may be strong and durable and able to support a lifetime's work, it cannot be taken for granted and there is no guarantee of permanent possession. It may be mislaid or even lost, and retrieval is very difficult. It may lie dormant, and be discovered late in life after a long struggle, as with Mondrian or Proust himself. Why it should be that some people have this sort of text while others do not, and what 'meaning' it has, is not something which lends itself to argument. Nor is it up to the artist to decide how important it is, or what value it has for other people. To ascertain this is perhaps beyond even the capacities of an artist's own time.[26][27]

Writer and curator[編集]

Riley has written on artists from Nicolas Poussin to Bruce Nauman. She co-curated "Piet Mondrian: From Nature to Abstraction" (with Sean Rainbird) at the Tate Gallery in 1996.[28] Alongside art historian Robert Kudielka, Riley also served as curator of the 2002 exhibition "Paul Klee: The Nature of Creation", an exhibition at the Hayward Gallery in London.[29] In 2010, she curated an artists choice show at the National Gallery in London, choosing large figure paintings by Titian, Veronese, El Greco, Rubens, Poussin, and Paul Cézanne.[30][31]

Exhibitions[編集]

In 1965, Riley exhibited in the Museum of Modern Art in New York City show, The Responsive Eye (created by curator William C. Seitz); the exhibition which first drew worldwide attention to her work and the Op Art movement. Her painting Current, 1964, was reproduced on the cover of the show's catalogue. Riley became increasingly disillusioned, however, with the exploitation of her art for commercial purposes, discovering that in the USA there was no copyright protection for artists. The first US copyright legislation was eventually passed, following an independent initiative by New York artists, in 1967.[5]

She participated in documentas IV (1968) and VI (1977). In 1968, Riley represented Great Britain in the Venice Biennale, where she was the first British contemporary painter, and the first woman, to be awarded the International Prize for painting.[18] Her disciplined work lost ground to the assertive gestures of the Neo-Expressionists in the 1980s, but a 1999 show at the Serpentine Gallery of her early paintings triggered a resurgence of interest in her optical experiments. "Bridget Riley: Reconnaissance", an exhibition of paintings from the 1960s and 1970s, was presented at Dia:Chelsea in 2000. In 2001, she participated in Site Santa Fe,[32] and in 2003 the Tate Britain organised a major Riley retrospective. In 2005 her work was featured at Gallery Oldham.[33] Between November 2010 and May 2011 her exhibition "Paintings and Related Work" was presented at the National Gallery, London.[34]

In June and July 2014 the retrospective show "Bridget Riley: The Stripe Paintings 1961–2014" was presented at the David Zwirner Gallery in London.[35][36] In July and August 2015 the retrospective show "Bridget Riley: The Curve Paintings 1961–2014" was presented at the De La Warr Pavilion in Bexhill-on-Sea.[37]

In November 2015, the exhibition Bridget Riley opened at David Zwirner in New York. The show features paintings and works on paper by the artist from 1981 to present; the fully illustrated catalogue features an essay by the art historian Richard Shiff and biographical notes compiled by Robert Kudielka.[38]

Public collections[編集]

ファイル:Riley, Movement in Squares.jpg
Movement in Squares, 1961,
tempera on hardboard

Artists influenced by Riley's work include Ross Bleckner, Philip Taaffe, and Diana Thater.[41][42] In 2013, Riley claimed that a wall-sized, black-and-white checkerboard work by Tobias Rehberger plagiarised her painting Movement of Squares and asked for it to be removed from display at the Berlin State Library's reading room.[43]

Recognition[編集]

In 1963 Riley was awarded the AICA Critics Prize as well as the Liverpool Open Section Prize. A year later she received a Peter Stuyvesant Foundation Travel bursary. Riley has been given honorary doctorates by Oxford (1993) and Cambridge (1995).[44] Then in 1968 she received an International Painting Prize at the Venice Biennale. In 2003, she was awarded the Praemium Imperiale,[45] and in 1998 she became one of only 65 Companions of Honour in Britain. As a board member of the National Gallery in the 1980s, she blocked Margaret Thatcher's plan to give an adjoining piece of property to developers and thus helped ensure the eventual construction of the museum's Sainsbury Wing.[4] Riley has also received the international prize for painting at the 1968 Venice Biennale, the Kaiserring of the city of Goslar in 2009 and the 12th Rubens Prize of Siegen in 2012.[46] Also in 2012, she became the first woman to receive the Sikkens Prize, the Dutch art prize recognising the use of colour.[47]

Philanthropy[編集]

Riley is a Patron of Paintings in Hospitals, a charity established in 1959 to provide art for health and social care in England, Wales and Northern Ireland.[48]

Between 1987 and 2014, she created three murals across the eighth, ninth and tenth floors of the Queen Elizabeth Queen Mother Wing, St Mary's Hospital, London.[49]

In 2017, alongside Yoko Ono and Tracey Emin, Riley donated artworks to an auction to raise money for Modern Art Oxford.[50]

Art market[編集]

In 2006, her Untitled (Diagonal Curve) (1966), a black-and-white canvas of dizzying curves, was bought by Jeffrey Deitch at Sotheby's for $2.1 million, nearly three times its $730,000 high estimate and also a record for the artist.[51] In February 2008, the artist's dotted canvas Static 2 (1966) brought £1,476,500 ($2.9 million), far exceeding its £900,000 ($1.8 million) high estimate, at Christie's in London.[52] Chant 2 (1967), part of the trio shown in the Venice Biennale, went to a private American collector for £2,561,250 ($5.1 million), in July 2008, at Sotheby's.[53]

Bibliography[編集]

  • Bridget Riley: The Stripe Paintings 1961–2014 (New York: David Zwirner Books, 2014). Texts by Robert Kudielka, Paul Moorhouse, and Richard Shiff. ISBN 9780989980975 [54]
  • Bridget Riley: The Stripe Paintings 1961–2012 (London: Ridinghouse; Berlin: Holzwarth Publications and Galerie Max Hetzler, 2013). Texts by John Elderfield, Robert Kudielka and Paul Moorhouse.[55]
  • Bridget Riley: Works 1960–1966 (London: Ridinghouse, 2012). Bridget Riley in conversation with David Sylvester (1967) and with Maurice de Sausmarez (1967).
  • Bridget Riley: Complete Prints 1962–2012 (London: Ridinghouse, 2012). Essays by Lynn MacRitchie and Craig Hartley; edited by Karsten Schubert.
  • The Eye’s Mind: Bridget Riley. Collected Writings 1965–1999 (London: Thames & Hudson, Serpentine Gallery and De Montfort University, 1999). Includes conversations with Alex Farquharson, Mel Gooding, Vanya Kewley, Robert Kudielka, and David Thompson. Edited by Robert Kudielka.
  • Bridget Riley: Paintings from the 60s and 70s (London: Serpentine Gallery, 1999). With texts by Lisa Corrin, Robert Kudielka, and Frances Spalding.
  • Bridget Riley: Selected Paintings 1961–1999 (Düsseldorf: Kunstverein für die Rheinlande und Westfalen; Ostfildern: Cantz Publishers, 1999). With texts by Michael Krajewski, Robert Kudielka, Bridget Riley, Raimund Stecker, and conversations with Ernst H. Gombrich and Michael Craig-Martin.
  • Bridget Riley: Works 1961–1998 (Kendal, Cumbria: Abbot Hall Art Gallery and Museum, 1998). A conversation with Isabel Carlisle.
  • Bridget Riley: Dialogues on Art (London: Zwemmer, 1995). Conversations with Michael Craig-Martin, Andrew Graham Dixon, Ernst H. Gombrich, Neil MacGregor, and Bryan Robertson. Edited by Robert Kudielka and with an introduction by Richard Shone.
  • Bridget Riley: Paintings and Related Work (London: National Gallery Company Limited, 2010). Text by Colin Wiggins, Michael Bracewell, Marla Prather and Robert Kudielka. ISBN 978 1 85709 497 8.

References[編集]

  1. ^ a b Tate Biography
  2. ^ Bridget Riley: Reconnaissance, September 21, 2000 – June 17, 2001 Archived 5 December 2011 at the Wayback Machine. Dia Art Foundation, New York.
  3. ^ Olly Payne (2012年). “Bridget Riley”. op-art.co.uk. 2013年3月1日閲覧。
  4. ^ a b c Mary Blume (19 June 2008), Bridget Riley retrospective opens in Paris The New York Times.
  5. ^ a b c d e Kudielka, R., "Chronology" in Bridget Riley: Paintings and Related Work, London: National Gallery Company Limited, 2010, pp. 67–72. ISBN 978 1 85709 497 8.
  6. ^ a b Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. pp. 598–599
  7. ^ a b Bridget Riley Museum of Modern Art, New York.
  8. ^ “Bridget Riley, born 1931: Artist Biography” (英語). tate.org.uk. 2019年2月5日閲覧。
  9. ^ "The SPACE Story" Archived 10 May 2011 at the Wayback Machine.
  10. ^ "The Life of Riley"
  11. ^ a b c d e f g Jones, Jonathan (2015年9月16日). “Bridget Riley review – pounding psychedelic art that will make you see the world differently”. The Guardian. https://www.theguardian.com/artanddesign/2015/sep/16/bridget-riley-learning-from-seurat-review-london 2018年1月17日閲覧。 
  12. ^ a b “Bridget Riley: Learning from Seurat”. The Courtauld Gallery. 2015年10月6日時点のオリジナルよりアーカイブ。2015年9月27日閲覧。
  13. ^ Women Artists in the 20th and 21st Century, By Uta Grosenick, Ilka Becker, Bridget Riley p.450-455. retrieved December 31, 2008
  14. ^ a b Sooke, Alastair (2015年9月21日). “Bridget Riley: Learning from Seurat, Courtauld, review: 'a rare insight into an artist's mind'”. The Telegraph. https://www.telegraph.co.uk/art/what-to-see/bridget-riley-learning-from-seurat-courtauld-review/ 2018年1月17日閲覧。 
  15. ^ Bridget Riley, Fall (1963) Tate.
  16. ^ Huxley, Aldous (1954) The Doors of Perception, Chatto and Windus, p. 15
  17. ^ Introduction to Frances Follin, Embodied Visions: Bridget Riley, Op Art and the Sixties, Thames and Hudson 2004
  18. ^ a b “Press Release: Bridget Riley”. Tate Gallery (2003年3月17日). 2015年9月18日閲覧。
  19. ^ Things to Enjoy, Bridget Riley, talking to Bryan Robertson in Bridget Riley, Dialogues on Art, p.87
  20. ^ Practising Abstraction, Bridget Riley talking to Michael Craig-Martin in Bridget Riley, Dialogues on Art, p.62
  21. ^ Karen Rosenberg (21 December 2007), Bridget Riley The New York Times.
  22. ^ Bridget Riley, Ka 3 (1980) Christie's 20th Century British Art, London, 6 June 2008.
  23. ^ Bridget Riley, August (1995) Christie's Post-War & Contemporary Art Evening Sale, London, 30 June 2008.
  24. ^ Jörg Heiser (May 2011), Bridget Riley at Galerie Max Hetzler, Berlin, Frieze.
  25. ^ Caroline Davies (6 April 2014), Bridget Riley's bold colours boost London hospital ward The Guardian.
  26. ^ a b Bracewell, Michael (2008年10月). “Seeing is Believing”. Frieze Magazine. 2010年11月11日時点のオリジナルよりアーカイブ。2010年12月15日閲覧。
  27. ^ a b Riley, Bridget (September 1997). “Painting Now”. The Burlington Magazine (The Burlington Magazine Publications, Ltd.) 139 (1134): 616–622. JSTOR 887465. 
  28. ^ Bridget Riley The Stripe Paintings 1961–2014, June 13 – July 25, 2014 David Zwirner, London.
  29. ^ Alan Riding (10 March 2002), The Other Klee, the One Who's Not on Postcards The New York Times.
  30. ^ Hilary Spurling (27 November 2010), Bridget Riley at the National Gallery – review The Guardian.
  31. ^ Martin Gayford (10 December 2010), Colors Shimmer as Bridget Riley Confronts Old Masters: Review Bloomberg.
  32. ^ Christopher Knight (25 November 2000), Seeing the Top of the Op Artists Los Angeles Times.
  33. ^ “Tom Bendhem: Collector”. Oldham Council. 2012年3月27日時点のオリジナルよりアーカイブ。2013年1月13日閲覧。
  34. ^ “Bridget Riley Paintings and Related Work”. National Gallery. 2018年7月16日閲覧。
  35. ^ “The Stripe Paintings 1961–2014”. David Zwirner (2014年7月25日). 2015年3月4日閲覧。
  36. ^ Wullschlager, Jackie (2014年6月6日). “Bridget Riley: a London retrospective”. FT.com. 2015年4月2日時点のオリジナルよりアーカイブ。2015年3月4日閲覧。
  37. ^ “Bridget Riley: The Curve Paintings 1961–2014”. De La Warr Pavilion (2015年8月5日). 2015年8月12日時点のオリジナルよりアーカイブ。2015年8月5日閲覧。
  38. ^ “Bridget Riley”. David Zwirner Books. 2015年11月6日閲覧。
  39. ^ a b c d e f g h i j k l m n o p q r CMS, Keepthinking – Qi. “Art UK | Home”. artuk.org. 2016年5月23日閲覧。
  40. ^ Collection Museum Boijmans Van Beuningen
  41. ^ Sheets, Hilarie (2010年5月21日). “Bridget Riley”. Art+Auction. http://www.blouinartinfo.com/news/story/276786/bridget-riley 2018年3月24日閲覧。 
  42. ^ “Eyes Wide Open”. The Guardian. (1999年6月21日). https://www.theguardian.com/culture/1999/jun/22/artsfeatures 2018年3月24日閲覧。 
  43. ^ Julia Michalska (15 January 2014), Agreement reached in plagiarism row between artists Archived 17 January 2014 at the Wayback Machine. The Art Newspaper.
  44. ^ Cooke, Lynne (2001). Bridget Riley: reconnaissance. New York: Dia Center for the Arts. pp. 106. ISBN 0-944521-41-X 
  45. ^ Louise Roug (23 October 2003), Five luminaries to receive arts awards Los Angeles Times.
  46. ^ “Sikkens Foundation Biography”. 2014年3月7日時点のオリジナルよりアーカイブ。2012年10月31日閲覧。
  47. ^ “BBC News – Bridget Riley receives Dutch art prize”. Bbc.co.uk (2012年10月30日). 2013年1月13日閲覧。
  48. ^ Wrathall, Claire (2017年10月13日). “Exploring the palliative power of art” (英語). howtospendit.ft.com. 2018年12月18日閲覧。
  49. ^ “Bridget Riley - Imperial Charity”. www.imperialcharity.org.uk. 2018年12月18日閲覧。
  50. ^ “Yoko Ono says "I Love U" to Modern Art Oxford by donating valuable painting” (英語). Oxford Mail. 2018年12月18日閲覧。
  51. ^ Carol Vogel (26 June 2006), Prosperity Sets the Tone at London Auctions The New York Times.
  52. ^ “Bridget Riley (b. 1931) | Static 2 | POST-WAR & CONTEMPORARY ART Auction | 1960s, Paintings | Christie's”. Christies.com (2008年2月6日). 2015年7月7日閲覧。
  53. ^ [1]
  54. ^ “Bridget Riley: The Stripe Paintings 1961–2014”. Template:Cite webの呼び出しエラー：引数 accessdate は必須です。
  55. ^ “Bridget Riley: The Stripe Paintings 1961–2012”. Template:Cite webの呼び出しエラー：引数 accessdate は必須です。

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