Maurits Cornelis Escher was born in 1898 in the Netherlands. Escher didn’t create to displace and supplant.įollowing the exhibition’s lead, it’s worthwhile considering Escher’s early life and work, and the seminal moments that led to his mature works, which he called “mental images.”
There is no sense of mourning for the loss of order or meaning, no cubist or futurist or expressionist philosophy and process to replace the contours and tenets of realism with new rules for making art and for making meaning from art. Just as Escher’s work isn’t surrealist – nor, obviously, is it realistic – it doesn’t really belong with modernism at all. Escher Company B.V.-Baarn-the Netherlands. That fact that Escher never understood why his art was so readily adopted by the counterculture of the 1960s as “psychedelic” bears this out. You want to classify them as surrealist, yet Escher’s devotion to the idea of the “regular division of the plane” and the strange, relentless logic of his work makes any alignment with the surrealist drive to access the random unreason of the unconscious impossible. There is both a science and a fiction behind Escher’s woodcuts, yet they are neither science nor fiction, nor are they, in and of themselves, science fiction. Interactive rooms, where visitors may play with optical illusions, accompany the exhibition. As well, visitors will see rare original artworks, wood and linoleum blocks, lithographic stones and the artist’s tools. Afterwards, Escher’s mature work, his tessellations, métamorphoses, works that transform two dimensions into three, reflecting worlds, Platonic solids, spirals in space, impossible buildings and representations of infinity will be on display. The exhibition is organized chronologically and thematically, beginning with the artist’s portraiture, student and early work, and his Italian pieces. Sachs Collection,” the new exhibition at the Museum of Fine Arts, Houston, is a comprehensive survey of the life and art of Escher.
Woodall, curator, prints and drawings, “Virtual Realities: The Art of M.C. His images of symmetries and infinities sensitize us, compelling us to tune in to rhythms and patterns in nature and in our daily lives that we have overlooked, missed or, perhaps, forgotten.Ĭurated by Dena M. In Escher’s world, gravity is challenged, infinity can be represented, incredible transformations are possible, and perception reigns over reality. Time and again, what Escher offers in his woodcuts is the sense of another world running beside, beneath or above ours, a world where the physical constraints are different or absent. Escher’s images graced the covers of 1960s-70s rock and roll albums and have inspired filmmakers from Christopher Nolan ( Inception) to Peter Jackson ( The Hobbit) to Scott Derrickson ( Doctor Strange) to Hwang Dong-hyuk ( Squid Game). Escher’s possible impossibles – possible in geometric terms, impossible in our reality – are so much a part of popular culture that we accept them without hesitation as they oscillate between mathematics and art, between orderly realities and fantastic dreams. Colored pencil, ink, and watercolor on paper.
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