ism ▁influenced ▁her ▁towards ▁abstract ▁painting . ▁As ▁a ▁young ▁artist ▁in ▁ 1 9 5 9 , ▁R iley ▁saw ▁The ▁Bridge ▁at ▁Cour be vo ie , ▁owned ▁by ▁the ▁Cour ta uld , ▁and ▁decided ▁to ▁paint ▁a ▁copy . ▁The ▁resulting ▁work ▁has ▁hung ▁in ▁R iley ' s ▁studio ▁ever ▁since , ▁bar ring ▁its ▁loan ▁to ▁the ▁gallery ▁for ▁the ▁exhibition , ▁demonstr ating ▁in ▁the ▁opinion ▁of ▁the ▁art ▁critic ▁Jonathan ▁Jones ▁" how ▁cru cial " ▁Se ur at ▁was ▁to ▁her ▁approach ▁to ▁art . ▁R iley ▁described ▁her ▁copy ▁of ▁Se ur at ' s ▁painting ▁as ▁a ▁" tool ", ▁interpreted ▁by ▁Jones ▁as ▁meaning ▁that ▁she , ▁like ▁Se ur at , ▁pract ised ▁art ▁" as ▁an ▁optical ▁science "; ▁in ▁his ▁view , ▁R iley ▁" re ally ▁did ▁for ge ▁her ▁optical ▁style ▁by ▁studying ▁Se ur at ", ▁making ▁the ▁exhibition ▁a ▁real ▁meeting ▁of ▁old ▁and ▁new . ▁Jones ▁comments ▁that ▁R iley ▁investig ated ▁Se ur at ' s ▁point ill ism ▁by ▁painting ▁from ▁a ▁book ▁illustr ation ▁of ▁Se ur at ' s ▁Bridge ▁at ▁an ▁expanded ▁scale ▁to ▁work ▁out ▁how ▁his ▁technique ▁made ▁use ▁of ▁complement ary ▁colours , ▁and ▁went ▁on ▁to ▁create ▁point ill ist ▁land sc apes ▁of ▁her ▁own , ▁such ▁as ▁P ink ▁Land s cape ▁( 1 9 6 0 ), ▁painted ▁soon ▁after ▁her ▁Se ur at ▁study ▁and ▁port ray ing ▁the ▁"