However, these same qualities made his work highly attractive to the public. Escher is not the first artist to explore mathematical themes: Parmigianino (1503–1540) had explored spherical geometry and reflection in his 1524 Self-portrait in a Convex Mirror, depicting his own image in a curved mirror, while William Hogarth's 1754 Satire on False Perspective foreshadows Escher's playful exploration of errors in perspective.
Maurits Cornelis Escher (; 17 June 1898 – 27 March 1972) was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. Despite wide popular interest, Escher was for long somewhat neglected in the art world, even in his native Netherlands.
He was one of the major inspirations of Douglas Hofstadter's Pulitzer Prize-winning 1979 book Gödel, Escher, Bach. == Early life == Maurits Cornelis Escher was born on 17 June 1898 in Leeuwarden, Friesland, the Netherlands, in a house that forms part of the Princessehof Ceramics Museum today.
In 1903, the family moved to Arnhem, where he attended primary and secondary school until 1918.
In 1903, the family moved to Arnhem, where he attended primary and secondary school until 1918.
He took carpentry and piano lessons until he was thirteen years old. In 1918, he went to the Technical College of Delft.
From 1919 to 1922, Escher attended the Haarlem School of Architecture and Decorative Arts, learning drawing and the art of making woodcuts.
From 1919 to 1922, Escher attended the Haarlem School of Architecture and Decorative Arts, learning drawing and the art of making woodcuts.
He briefly studied architecture, but he failed a number of subjects (due partly to a persistent skin infection) and switched to decorative arts, studying under the graphic artist Samuel Jessurun de Mesquita. == Study journeys == In 1922, an important year of his life, Escher traveled through Italy, visiting Florence, San Gimignano, Volterra, Siena, and Ravello.
The intricate decorative designs of the Alhambra, based on geometrical symmetries featuring interlocking repetitive patterns in the coloured tiles or sculpted into the walls and ceilings, triggered his interest in the mathematics of tessellation and became a powerful influence on his work. Escher returned to Italy and lived in Rome from 1923 to 1935.
While in Italy, Escher met Jetta Umiker – a Swiss woman, like himself attracted to Italy – whom he married in 1924.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
The intricate decorative designs of the Alhambra, based on geometrical symmetries featuring interlocking repetitive patterns in the coloured tiles or sculpted into the walls and ceilings, triggered his interest in the mathematics of tessellation and became a powerful influence on his work. Escher returned to Italy and lived in Rome from 1923 to 1935.
Escher and Jetta later had two more sons – Arthur and Jan. He travelled frequently, visiting (among other places) Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the Amalfi coast in 1931 and 1934, and Gargano and Sicily in 1932 and 1935.
All the same, even his early work already shows his interest in the nature of space, the unusual, perspective, and multiple points of view. == Later life == In 1935, the political climate in Italy under Mussolini became unacceptable to Escher.
When his eldest son, George, was forced at the age of nine to wear a Ballila uniform in school, the family left Italy and moved to Château-d'Œx, Switzerland, where they remained for two years. The Netherlands post office had Escher design a semi-postal stamp for the "Air Fund" (Dutch: Het Nationaal Luchtvaartfonds) in 1935, and again in 1949 he designed Dutch stamps.
In May and June 1936, Escher travelled back to Spain, revisiting the Alhambra and spending days at a time making detailed drawings of its mosaic patterns.
He wrote, "Mathematicians have opened the gate leading to an extensive domain". After his 1936 journey to the Alhambra and to La Mezquita, Cordoba, where he sketched the Moorish architecture and the tessellated mosaic decorations, Escher began to explore the properties and possibilities of tessellation using geometric grids as the basis for his sketches.
This turned out to be the last of his long study journeys; after 1937, his artworks were created in his studio rather than in the field.
In 1937, the family moved again, to Uccle (Ukkel), a suburb of Brussels, Belgium.
World War II forced them to move in January 1941, this time to Baarn, Netherlands, where Escher lived until 1970.
It was used as the basis for his 1943 lithograph
When his eldest son, George, was forced at the age of nine to wear a Ballila uniform in school, the family left Italy and moved to Château-d'Œx, Switzerland, where they remained for two years. The Netherlands post office had Escher design a semi-postal stamp for the "Air Fund" (Dutch: Het Nationaal Luchtvaartfonds) in 1935, and again in 1949 he designed Dutch stamps.
After 1953, Escher lectured widely.
He was awarded the Knighthood of the Order of Orange-Nassau in 1955; he was later made an Officer in 1967. In July 1969 he finished his last work, a large woodcut with threefold rotational symmetry called Snakes, in which snakes wind through a pattern of linked rings.
His early love of Roman and Italian landscapes and of nature created an interest in tessellation, which he called Regular Division of the Plane; this became the title of his 1958 book, complete with reproductions of a series of woodcuts based on tessellations of the plane, in which he described the systematic buildup of mathematical designs in his artworks.
A planned series of lectures in North America in 1962 was cancelled after an illness, and he stopped creating artworks for a time, but the illustrations and text for the lectures were later published as part of the book Escher on Escher.
He traveled in Italy and Spain, sketching buildings, townscapes, architecture and the tilings of the Alhambra and the Mezquita of Cordoba, and became steadily more interested in their mathematical structure. Escher's art became well known among scientists and mathematicians, and in popular culture, especially after it was featured by Martin Gardner in his April 1966 Mathematical Games column in Scientific American.
He was awarded the Knighthood of the Order of Orange-Nassau in 1955; he was later made an Officer in 1967. In July 1969 he finished his last work, a large woodcut with threefold rotational symmetry called Snakes, in which snakes wind through a pattern of linked rings.
He was awarded the Knighthood of the Order of Orange-Nassau in 1955; he was later made an Officer in 1967. In July 1969 he finished his last work, a large woodcut with threefold rotational symmetry called Snakes, in which snakes wind through a pattern of linked rings.
World War II forced them to move in January 1941, this time to Baarn, Netherlands, where Escher lived until 1970.
The care that Escher took in creating and printing this woodcut can be seen in a video recording. Escher moved to the Rosa Spier Huis in Laren in 1970, an artists' retirement home in which he had his own studio.
Maurits Cornelis Escher (; 17 June 1898 – 27 March 1972) was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. Despite wide popular interest, Escher was for long somewhat neglected in the art world, even in his native Netherlands.
He died in a hospital in Hilversum on 27 March 1972, aged 73.
He was one of the major inspirations of Douglas Hofstadter's Pulitzer Prize-winning 1979 book Gödel, Escher, Bach. == Early life == Maurits Cornelis Escher was born on 17 June 1898 in Leeuwarden, Friesland, the Netherlands, in a house that forms part of the Princessehof Ceramics Museum today.
All text is taken from Wikipedia. Text is available under the Creative Commons Attribution-ShareAlike License .
Page generated on 2021-08-05