Pointillism's Impact on Bridget Riley

Like much of Riley’s work, the historical roots of Pointillism are anchored in the scientific research of colour and optical effects. Scientists like Michel Eugène Chevreul and Ogden Rood played a crucial role in understanding how colours mix in the eye rather than on the palette, leading to the theory of optical mixture. This theory posits that colours juxtaposed in small dots would blend in the viewer's eye to produce a more vibrant luminosity than could be achieved by traditional methods of mixing pigments. Seurat, deeply influenced by these scientific theories, sought to apply them to his art in a methodical way. His masterpiece A Sunday Afternoon On The Island Of La Grande Jatte is a quintessential example of the movement that would become Pointillism. In this work, Seurat applied tiny dots of pure colour side by side which, from a distance, blend in the viewer's eye to create dynamic hues that appear to be in movement. This technique was revolutionary, as it moved away from the strokes and blends of Impressionism towards a more scientifically grounded and abstract approach.

Pointillism represented a philosophical approach to representation in art, as the technique prompted artists to think about the perception of colours and the science behind it, influencing not just the Neo-Impressionists but also later generations of artists. Despite its initial mixed reception – with critics often perplexed by its meticulous and time-consuming process – Pointillism laid foundational concepts for the development of various modern art movements. It can be seen as a precursor to the colour theories that underpin much of modern and contemporary art, including Abstract Expressionism. In the case of Riley, Pointillism's emphasis on the optical and perceptual effects of juxtaposed colours can be seen as an early influencer of her approach to Op Art. Riley's work, focused on creating vibrant optical sensations through precise, geometric patterns, echoes the Pointillist technique of manipulating viewer perception through colour and form.

Riley was born in 1931 in London, and is a prominent British artist renowned for her contributions to the Op Art movement. Her artistic journey is marked by a rigorous exploration of visual perception, focusing on the dynamic interactions between colour, form, and light. Riley's work invites viewers into a world of optical illusions, where static surfaces seem to move, and colours vibrate with energy.

Her early career began with a traditional art education at Goldsmiths College and later at the Royal College of Art, where she was exposed to a variety of artistic influences, although she left both without qualifications. Initially, her work was figurative; however, she soon embarked on a transformative path towards abstraction. The turning point in Riley's career came in the early 1960s when she began to develop her signature style—creating black and white geometric patterns that produce sensations of movement and colour.

Riley's exploration into optical art was partly inspired by the work of Victor Vasarely and Pointillism’s focus on colour theory and perception. Her breakthrough piece, Movement In Squares, is a testament to her ability to create a sense of depth and motion on a flat surface. Following this, her work Fall garnered international attention, firmly establishing her as a leading figure in the emerging Op Art movement. By the late 1960s, Riley reintroduced colour into her work, further complicating the visual effects of her pieces. She meticulously studied the interactions between hues and how they could be arranged to evoke a sense of rhythm and space. This period marked a significant evolution in her artistic approach, as she began to experiment with the emotional and spatial possibilities of juxtapositions.

Throughout the decades, Riley has continued to refine her exploration of perception, experimenting with new shapes, colours, and compositions. Her work has evolved to include curves, diagonals, and more complex relationships, always maintaining a focus on the interaction between eye and canvas. Riley's contributions to art have been recognised with numerous awards and exhibitions worldwide. Her influence extends beyond the art world, impacting design, fashion, and popular culture, illustrating the broad appeal and relevance of her optical explorations.

The insights gained from studying Seurat's method catalysed her transition towards pure abstraction and, over the following years, she produced her first major abstract paintings – characterised by repeated geometric patterns. These works were a departure from her earlier figurative paintings, signalling a new direction that focused on the optical and perceptual possibilities of abstract art. The exhibition Bridget Riley: Learning From Seurat at the Courtauld Gallery of Art in 2015 highlighted the significance of Pointillism in Riley's oeuvre. This exhibition underscored how the lessons learned from Seurat represented a philosophical alignment with the principles of optical mixing and the dynamic potential of colour in the viewer’s eye. She goes one step further, however; while Seurat's work aimed to enhance the realism and vibrancy of painted scenes through a scientific approach to colour, Riley's abstract compositions explore the mechanisms of perception itself, investigating how simple forms and shades can be arranged to produce complex visual experiences.

Riley's adaptation of Pointillist techniques was a crucial step in her journey towards becoming one of the foremost proponents of Op Art. By integrating the scientific and analytical aspects of the movement with her own innovative approach to abstract patterns, Riley carved out a unique niche in the art world. Her work offers a contemporary reinterpretation of the exploration of visual perception, which continues to influence and inspire.