Essay On M.C Escher

Essay On M.C Escher-18
She pointed out the recognizable 1935 image “Hand with Reflecting Sphere” that shows the bearded artist peering out from a mirrored orb poised in his hand.“This goes back to the 15th century idea of an artist representing himself on a curved surface,” Baer said.

This inspired Paulus as she worked through the creation of “The Donkey Show,” her 1970s disco version of the bard’s “A Midsummer Night’s Dream.”For Paulus, “Drawing Hands” also channels the mysterious evolution of a creative act in a visual way.“Where one hand is drawing, which leads to another hand which is drawing,” she described, “it’s a constant flow where you cannot put your finger on where it begins and where it ends.”Like all good art, Paulus believes Escher's works grab our imaginations on a visceral level and challenges us to participate.“There’s kind of a gauntlet set down to say, ‘Try to figure out where this begins and where it ends, I dare you! “And then you kind of look at it — and stare at it — and you get lost in the maze.”M. Escher created 448 lithographs, woodcuts and wood engravings before he died in 1972.

He also illustrated books and designed postage stamps, murals and tapestries.

First, it should be noted that his interest in creating representational tessellations was essentially a personal one; as such, an idea that had no real precedent of note.

Although tessellation per se has a long history, apparently nobody thought of the idea of making tilings (or adding decoration) in the form of some recognisable figurative motif before Escher.

Indeed, the book is indispensable for a study of Escher, of which the following text makes many references to the relevant pages for illustrative purposes and matters of fact.

However, although Mac Gillavry and Schattschneider have indeed commented upon the drawings, this is more to do with their underlying symmetry aspects and not the drawings qualities and merits per se.

Chef Barbara Lynch wrote about a more realistic piece Escher made of the Amalfi coast when he lived in Italy in the 1930s. Musician Yo-Yo Ma meditated on how Escher relates to Bach.

Retired astronaut-turned-artist Nicole Stott penned an essay about Escher’s “Three Worlds," which shows a fish under water, leaves on the water and trees reflected in the water.

Of interest is to how Escher began his studies, by what route, from what sources, from which one can then more readily comprehend the difficulties he faced.

Furthermore, by such means one can thus, in theory at least, build upon his own efforts by the creation of new representational tessellations, having seen the background.


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