Rose Rose (2011) by Bridget Riley runs horizontal bands of coral, rose, lime green, turquoise and yellow across a vertical format, the warm tones dominating a sequence that the cooler greens and blues punctuate at irregular intervals, each cooler passage intensifying the warmth of the bands surrounding it before the pinks and corals reassert themselves.

Rose Rose slots in with a group of works from this period in which Riley explored what a warm-dominant palette could do across the horizontal stripe, Rose Horizontal being the larger and more expansive statement of the same concerns. Where Rose Horizontal spreads its sequence across a wide landscape format, filling the picture plane entirely with colour, Rose Rose gathers its bands into a vertical arrangement with a narrower range of tones — the rose and coral held closer to the centre of the palette, the cooler punctuation less frequent, the overall character more concentrated and intimate. The two works reward being considered together, each clarifying what the other is doing by doing something slightly different with the same material.

Rose Rose is among the more accessible works in Riley's printed output, the larger edition reflecting her consistent belief that prints should reach beyond the limited-edition market — independent works made for the medium, available to a broader range of collectors without any compromise to their integrity.

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