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Easter Parade (film)
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Easter Parade
Theatrical release poster
Directed by
Charles Walters
Produced by
Arthur Freed
Written by
Sidney Sheldon
Frances Goodrich
Albert Hackett
Starring
Judy Garland
Fred Astaire
Music by
Score:
Johnny Green
Roger Edens
Songs and Music:
Irving Berlin
Cinematography
Harry Stradling
Edited by
Albert Akst
Production
company
Metro-Goldwyn-Mayer
Distributed by
Loew's, Inc.
Release date
June 30, 1948 (1948-06-30)
Running time
108 minutes
Country
United States
Language
English
Budget
$2,655,000[1][2]
Box office
$5,803,000[1]
Easter Parade is a 1948 American musical film starring Judy Garland, Fred Astaire and Peter Lawford, featuring music by Irving Berlin, including some of Astaire and Garland's best-known songs, such as "Easter Parade", "Steppin' Out with My Baby", and "We're a Couple of Swells". The story bears certain similarities to Pygmalion.
It was the most financially successful picture for both Garland and Astaire as well as the highest-grossing musical of the year.
Contents
[hide]
1 Plot
2 Cast
3 Awards and honors
4 Musical numbers
5 Reception
6 Notes
7 External links
Plot[edit]
This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (April 2015) (Learn how and when to remove this template message)
In 1912, Broadway star Don Hewes (Fred Astaire) is buying Easter presents for his sweetheart ("Happy Easter"). He buys a cuddly Easter rabbit after persuading a young boy to part with it and buy a set of drums instead ("Drum Crazy"). Hewes takes the gifts to his dancing partner, Nadine Hale (Ann Miller), who explains that she has an offer for a show that would feature her as a solo star. Don tries to change her mind and it looks as if he has succeeded ("It Only Happens When I Dance With You"), until Don's best friend, Johnny (Peter Lawford), turns up. Nadine reveals that she and Don are no longer a team and it becomes obvious that Nadine is attracted to Johnny. She continues to pursue Johnny, but he refuses her out of respect for Don.
Don drowns his sorrows at a bar, where he brags that he can make a star of the next dancer he meets. He picks one of the girls dancing on the stage, Hannah Brown (Judy Garland), and tells her to meet him for rehearsal the next day. Don tries to turn Hannah into a copy of Nadine, teaching her to dance the same way, buying her dresses in a similar style and giving her an "exotic" stage name, "Juanita." However, Hannah makes several mistakes at their first performance, and the show is a fiasco.
Hannah meets Johnny, who is instantly attracted to her and sings "A Fella With An Umbrella" while walking her to her rehearsal with Don. After Johnny tries - unsuccessfully - to reunite Nadine and Don by inviting them both to lunch and then leaving them alone, she tells him her friends are laughing because Hannah is trying to be her. Don realizes his mistake and after hearing Hannah sing "I Love A Piano," works out routines more suited to Hannah's personality. Now known as "Hannah & Hewes", the duo are shown much more successfully performing "Snookie-Ookums", "The Ragtime Violin", and "When That Midnight Choo-Choo Leaves For Alabam.'"
At an audition for Ziegfeld Follies, they meet Nadine, who is starring in the show. Hannah realizes that Nadine was Don's former dancing partner and demands to know if they were in love. Later, Don meets Hannah back at the hotel and reveals that he turned down the Ziegfeld offer, believing that Hannah and Nadine do not belong in the same show. Johnny arrives and takes Hannah out for dinner, at which Johnny reveals that he has fallen in love with Hannah. While Hannah does like Johnny, she admits she is actually in love with Don. She and Johnny continue to have a close friendship.
Nadine's show opens and Don goes to see it ("Shakin' The Blues Away"). He meets Hannah the next day, tells her they will be starring in another show and invites her to dinner to celebrate. Hannah goes to dinner at Don's, only to have him suggest a dance rehearsal. She is immediately upset and tells him that he doesn't see her as a woman, but as a dancing aid. She tries to leave, but Don stops her and kisses her. Hannah then plays the piano and sings "It Only Happens When I Dance With You," after which Don realizes he is in love with Hannah and they embrace.
The couple take part in a variety show, with a solo by Don ("Steppin' Out With My Baby") and then comes the most famous musical number in the film ("A Couple of Swells"), in which Don and Hannah play a pair of street urchins with vivid imaginations. Don and Hannah go out to celebrate after the show and end up watching Nadine perform. Nadine is mad with jealousy when the audience gives Don and Hannah a round of applause as they come in. After she dances in a number called "The Girl On The Magazine Cover," she insists that Don perform one of their old numbers with her for old times' sake - "It Only Happens When I Dance With You (Reprise)." When Don reluctantly agrees, Hannah becomes upset and runs out, believing that Don has only been using her to regain Nadine, and that he has succeeded.
She ends up at the bar where she and Don first met. She pours out her troubles to Mike the bartender ("Better Luck Next Time"). When Hannah returns to her apartment, she finds Don waiting for her. Don tries to explain that he was forced to dance with Nadine and tells Hannah he'll wait all night for her to forgive him, but just before Hannah opens the door, Don is kicked out of her building by the house detective. The next morning Hannah tells Johnny about her and Don's misunderstanding. Johnny says if he loved someone he would let her know it, implying that Hannah should forget the argument and be with Don. Hannah realizes that Johnny is right and goes to meet Don for their date for the Easter Parade.
Meanwhile, Don has been receiving various gifts at his apartment that morning, such as a rabbit and a new top hat, unaware that they're from Hannah. She arrives unexpectedly at his house, as if the argument never happened. As they walk in the Easter parade, photographers, echoing a scene with Nadine from the beginning of the film, take their pictures, and Don proposes to Hannah ("Easter Parade").
Cast[edit]
Judy Garland as Hannah Brown
Fred Astaire as Don Hewes. Gene Kelly was originally cast as Don, but Kelly was injured (he broke his ankle playing volleyball) just prior to production and Astaire, who had announced his retirement from film, was coaxed back by Kelly to replace him.[3] (Astaire would "retire" several more times over the next decade, but he would also go on to make a number of additional classic musicals in between retirements.)
Peter Lawford as Jonathan Harrow III
Ann Miller as Nadine Hale. This film marked the major MGM debut of tap-dancer Miller (who had previously been under contract to RKO in the thirties and then to Columbia Pictures in the early to mid-forties), replacing Cyd Charisse, who had to bow out of the production due to a broken leg.
Jeni Le Gon as Essie, Nadine's servant
Jules Munshin as François
Clinton Sundberg as Mike the bartender
Jimmy Bates as the boy in the toy shop
Awards and honors[edit]
The film won the 1948 Academy Award for Best Original Music Score. The writers of the film also received the Writers Guild of America Award for Best Written American Musical.

The film is recognized by American Film Institute in these lists:
2004: AFI's 100 Years...100 Songs:
"Steppin' Out with My Baby" – Nominated[4]
2006: AFI's Greatest Movie Musicals – Nominated[5]
Musical numbers[edit]
All songs by Irving Berlin
Performance credits below indicate both singing and dancing unless otherwise noted.
"Happy Easter" (Fred Astaire)
"Drum Crazy" (Astaire)
"It Only Happens When I Dance with You" (Astaire singing, dancing with Ann Miller)
"I Want To Go Back To Michigan" (Judy Garland)
"A Fella with an Umbrella" (Peter Lawford, Garland)
Vaudeville Montage: "I Love a Piano" (Garland singing, dancing with Astaire), "Snookey Ookums" (Astaire, Garland), "The Ragtime Violin" (Astaire singing, dancing with Garland), and "When the Midnight Choo-Choo Leaves for Alabam'" (Garland, Astaire)
"Shakin' the Blues Away" (Miller)
"It Only Happens When I Dance With You (reprise)" (Garland singing)
"Steppin' Out with My Baby" (Astaire, chorus, and featured dancers Patricia Jackson, Bobbie Priest, Dee Turnell)
"A Couple of Swells" (Astaire, Garland)
"The Girl on the Magazine Cover" (Richard Beavers singing, Miller dancing)
"It Only Happens When I Dance With You (instrumental)" (Astaire and Miller dancing)
"Better Luck Next Time" (Garland singing)
"Easter Parade" (Garland, Astaire)
One musical number, a seductive performance of "Mr. Monotony" by Garland wearing the top half of a tuxedo and nylon tights (a style of dress which would become something of a trademark in later years after she wore the same outfit in 1950's Summer Stock), was cut from the film as it was deemed too risqué for a film supposedly set in 1912. Audiences finally got to see this number in the 1990s when an edited version was included in the 1994 compilation film That's Entertainment! III. The complete number was first seen as part of the extras on the VHS and Laser Disc special edition versions the following year. When Easter Parade was released to DVD, several minutes of outtakes, raw footage, and alternate takes of this performance were included in addition to the footage previously released.
As with White Christmas six years later, it is impossible to remix the musical numbers from this film into Stereo or surround sound, because the original audio track recordings burned in a fire, leaving only a monaural composite track containing dialogue, music and effects, and an isolated music-only track intended for international release.
Reception[edit]
The film earned $4,144,000 in the US and Canada and $1,659,000 overseas, resulting in a profit of $5,803,000.[1] According to Variety it was the second most popular film of 1948.[6]
Notes[edit]
^ Jump up to: a b c The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study .
Jump up ^ Another source puts the cost at $3 million Variety February 1948
Jump up ^ Astaire, Fred (1959). Steps in Time. London: Heinemann. p. 291. ISBN 0-241-11749-6.
Jump up ^ "AFI's 100 Years...100 Songs Nominees" (PDF). Retrieved August 13, 2016.
Jump up ^ "AFI's Greatest Movie Musicals Nominees" (PDF). Retrieved August 13, 2016.
Jump up ^ "Top Grossers of 1948", Variety January 5, 1949. p. 46
External links[edit]
Wikimedia Commons has media related to Easter Parade (film).
Wikiquote has quotations related to: Easter Parade (film)
Easter Parade on IMDb
Easter Parade at AllMovie
Easter Parade at the TCM Movie Database
Easter Parade at Rotten Tomatoes
Review of Easter Parade at TVGuide.com
The Judy Room: Easter Parade section
[show]
v
t
e
Films directed by Charles Walters
Good News (1947)
Easter Parade (1948)
The Barkleys of Broadway (1949)
Summer Stock (1950)
Three Guys Named Mike (1951)
Texas Carnival (1951)
The Belle of New York (1952)
Lili (1953)
Dangerous When Wet (1953)
Torch Song (1953)
Easy to Love (1953)
The Glass Slipper (1955)
The Tender Trap (1955)
High Society (1956)
Don't Go Near the Water (1957)
Ask Any Girl (1959)
Please Don't Eat the Daisies (1960)
Two Loves (1961)
Billy Rose's Jumbo (1962)
The Unsinkable Molly Brown (1964)
Walk, Don't Run (1966)
[show]
v
t
e
Musicals by Irving Berlin
Theatre
Annie Get Your Gun
As Thousands Cheer
Call Me Madam
The Canary
The Century Girl
The Cocoanuts
The Cohan Revue of 1918
Face the Music
Louisiana Purchase
Miss Liberty
Mr. President
Music Box Revue
Stop! Look! Listen!
There's No Business Like Show Business
This Is the Army
Top Hat
Watch Your Step
White Christmas
Yip Yip Yaphank
Ziegfeld Follies
Film
Alexander's Ragtime Band
Annie Get Your Gun
Blue Skies
Call Me Madam
Carefree
The Cocoanuts
Easter Parade
Follow the Fleet
Hallelujah
Holiday Inn
On the Avenue
Second Fiddle
There's No Business Like Show Business
This Is the Army
Top Hat
White Christmas
[show]
v
t
e
Arthur Freed musical productions
As producer
Babes in Arms (1939)
Strike Up the Band (1940)
Little Nellie Kelly (1940)
Lady Be Good (1941)
Babes on Broadway (1941)
Panama Hattie (1942)
For Me and My Gal (1942)
Cabin in the Sky (1943)
DuBarry Was a Lady (1943)
Best Foot Forward (1943)
Girl Crazy (1943)
Meet Me in St. Louis (1944)
Yolanda and the Thief (1945)
The Harvey Girls (1946)
Ziegfeld Follies (1946)
Till the Clouds Roll By (1946)
Good News (1947)
Summer Holiday (1948)
The Pirate (1948)
Easter Parade (1948)
Words and Music (1948)
Take Me Out to the Ball Game (1949)
The Barkleys of Broadway (1949)
On the Town (1949)
Annie Get Your Gun (1950)
Pagan Love Song (1950)
Royal Wedding (1951)
Show Boat (1951)
An American in Paris (1951)
The Belle of New York (1952)
Singin' in the Rain (1952)
The Band Wagon (1953)
Brigadoon (1954)
It's Always Fair Weather (1955)
Kismet (1955)
Invitation to the Dance (1956)
Silk Stockings (1957)
Gigi (1958)
Bells Are Ringing (1960)
Uncredited
as producer
The Wizard of Oz (1939)
Meet the People (1944)
Non-musicals
The Clock (1945)
Any Number Can Play (1949)
Crisis (1950)
The Subterraneans (1960)
Light in the Piazza (1962)
[show]
v
t
e
Guy Bolton
Screenplays
Ambassador Bill (1931)
Devil's Lottery (1932)
Week-End at the Waldorf (1945)
Ziegfeld Follies (1945)
Till the Clouds Roll By (1946)
Easter Parade (1948)
Adorable Julia (1962)
Musicals
Very Good Eddie (1915)
Oh, Boy! (1917)
Leave It to Jane (1917)
Miss 1917 (1917)
Kissing Time (1918)
Oh, Lady! Lady!! (1918)
Primrose (1924)
Lady, Be Good (1925)
Tip-Toes (1926)
Oh, Kay! (1926)
Girl Crazy (1930)
Anything Goes (1935)
Other
Bring on the Girls!
Family
Ivy May Bolton (sister)
Marguerite Namara (2nd wife)
[show]
v
t
e
Easter
Main topics
Controversies
Date
Easter Sunday
Etymology
Observances
Traditions
Christianity
Apostles' Fast
Bright Week
Burial of Jesus
Crucifixion of Jesus
Dormition of the Theotokos
Easter Monday
Easter Vigil
Epitaphios
Exsultet
Good Friday
Good Friday Prayer
Good Friday prayer for the Jews
Great Lent
Holy Week
Jesus
Last Supper
Lent
Lumen Christi
Maundy Thursday
Myrrhbearers
Paschal candle
Paschal cycle
Paschal greeting
Paschal Homily
Paschal Tide
Paschal trikirion
Paschal troparion
The Passion
Pentecostarion
Resurrection of Jesus
Tenebrae
Traditions
Artos
Burning of Judas
Cascarón
Clipping the church
Croatian pisanica
Crucession
Easter basket
Easter Bilby
Easter bonnet
Easter Bunny
Easter egg
Easter egg tree
Easter postcard
Easter Sepulchre
Egg dance
Egg decorating
Egg decorating in Slavic culture
Egg hunt
Egg rolling
Egg tapping
Egg tossing
Fasika
Gorzkie żale
Holy Fire
Holy Week procession
Lieldienas
Osterbrunnen
Pace Egg play
Polish pisanka
Pysanka
Radonitsa
Rouketopolemos
Saitopolemos
Scoppio del carro
Sunrise service
Święconka
Traditional Easter games and customs
Media
Film
Fiction
Songs
Related topics
Computus
Dionysius Exiguus' Easter table
Easter controversy
Easter Epic
Ecclesiastical new moon
Paschal Full Moon
Pussy willow
Reform of the date of Easter
Related events
Divine Mercy Sunday
Easter Monday
Easter Tuesday
Easter Wednesday
Easter Thursday
Easter Friday
Easter Saturday
Eastertide
Easter Triduum
Easter Week
Good Friday
Holy Saturday
Maundy Thursday
Mid-Pentecost
Octave of Easter
Palm Sunday
Pentecost
Pre-Lenten Season
Trinity Sunday
Society
Ēostre
Maslenitsa
Salzburg Easter Festival
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M. C. Escher
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
M. C. Escher
In November 1971
Born
Maurits Cornelis Escher
(1898-06-17)17 June 1898
Leeuwarden, Netherlands
Died
27 March 1972(1972-03-27) (aged 73)
Hilversum, Netherlands
Resting place
Baarn, Netherlands
Nationality
Dutch
Education
Technical College of Delft
Haarlem School of Architecture and Decorative Arts
Known for
Drawing, printmaking
Notable work
Hand with Reflecting Sphere (1935)
Relativity (1953)
Waterfall (1961)
Spouse(s)
Jetta Umiker (m. 1924)
Awards
Knight (1955) and Officer (1967) of the Order of Orange-Nassau
Website
www.mcescher.com
Maurits Cornelis Escher (Dutch pronunciation: [ˈmʌurɪts kɔrˈneːlɪs ˈɛsxər]; 17 June 1898 – 27 March 1972) was a Dutch graphic artist who made mathematically-inspired woodcuts, lithographs, and mezzotints.
His work features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations. Although Escher believed he had no mathematical ability, he interacted with the mathematicians George Pólya, Roger Penrose, Harold Coxeter and crystallographer Friedrich Haag, and conducted his own research into tessellation.
Early in his career, he drew inspiration from nature, making studies of insects, landscapes, and plants such as lichens, all of which he used as details in his artworks. 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. Apart from being used in a variety of technical papers, his work has appeared on the covers of many books and albums. He was one of the major inspirations of Douglas Hofstadter's Pulitzer Prize-winning 1979 book Gödel, Escher, Bach.
Despite wide popular interest, Escher was for long somewhat neglected in the art world; even in his native Netherlands, he was 70 before a retrospective exhibition was held. In the twenty-first century, he became more widely appreciated, with exhibitions across the world.
Contents
1 Early life
2 Study journeys
3 Later life
4 Mathematically inspired work
4.1 Tessellation
4.2 Geometries
4.3 Platonic and other solids
4.4 Levels of reality
4.5 Infinity and hyperbolic geometry
5 Legacy
5.1 In art collections
5.2 Exhibitions
5.3 In mathematics and science
5.4 In popular culture
6 Selected works
7 See also
8 Notes
9 References
10 Further reading
10.1 Books
10.2 Media
11 External links
Early life
Escher's birth house, now part of the Princessehof Ceramics Museum, in Leeuwarden, Friesland, the Netherlands
Maurits Cornelis[a] Escher was born on 17 June 1898 in Leeuwarden, Friesland, the Netherlands, in a house that forms part of the Princessehof Ceramics Museum today. He was the youngest son of the civil engineer George Arnold Escher and his second wife, Sara Gleichman. In 1903, the family moved to Arnhem, where he attended primary and secondary school until 1918.[1][2] Known to his friends and family as "Mauk", he was a sickly child and was placed in a special school at the age of seven; he failed the second grade.[3] Although he excelled at drawing, his grades were generally poor. He took carpentry and piano lessons until he was thirteen years old.[1][2]
In 1918, he went to the Technical College of Delft.[1][2] From 1919 to 1922, Escher attended the Haarlem School of Architecture and Decorative Arts, learning drawing and the art of making woodcuts.[1] He briefly studied architecture, but he failed a number of subjects (due partly to a persistent skin infection) and switched to decorative arts,[3] studying under the graphic artist Samuel Jessurun de Mesquita.[4]
Study journeys
Moorish tessellations including this one at the Alhambra inspired Escher's work with tilings of the plane. He made sketches of this and other Alhambra patterns in 1936.[5]
In 1922, an important year of his life, Escher traveled through Italy, visiting Florence, San Gimignano, Volterra, Siena, and Ravello. In the same year, he traveled through Spain, visiting Madrid, Toledo, and Granada.[1] He was impressed by the Italian countryside and, in Granada, by the Moorish architecture of the fourteenth-century Alhambra. 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.[6][7]
Escher's painstaking[b][8] study of the same Moorish tiling in the Alhambra, 1936, demonstrates his growing interest in tessellation.
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. The couple settled in Rome where their first son, Giorgio (George) Arnaldo Escher, named after his grandfather, was born. Escher and Jetta later had two more sons — Arthur and Jan.[1][2]
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 townscapes and landscapes of these places feature prominently in his artworks. 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. It was here that he became fascinated, to the point of obsession, with tessellation, explaining:[4][8]
It remains an extremely absorbing activity, a real mania to which I have become addicted, and from which I sometimes find it hard to tear myself away.[8]
The sketches he made in the Alhambra formed a major source for his work from that time on.[8] He also studied the architecture of the Mezquita, the Moorish mosque of Cordoba. 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. His art correspondingly changed sharply from being mainly observational, with a strong emphasis on the realistic details of things seen in nature and architecture, to being the product of his geometric analysis and his visual imagination. All the same, even his early work already shows his interest in the nature of space, the unusual, perspective, and multiple points of view.[4][8]
Later life
In 1935, the political climate in Italy (under Mussolini) became unacceptable to Escher. He had no interest in politics, finding it impossible to involve himself with any ideals other than the expressions of his own concepts through his own particular medium, but he was averse to fanaticism and hypocrisy. 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.[9]
The Netherlands post office had Escher design a semi-postal stamp for the "Air Fund" in 1935[10], and again in 1949 he designed Netherlands stamps. These were for the 75th anniversary of the Universal Postal Union; a different design was used by Surinam and the Netherlands Antilles for the same commemoration.[11][12]
Escher's last work, Snakes, 1969
Escher, who had been very fond of and inspired by the landscapes in Italy, was decidedly unhappy in Switzerland. In 1937, the family moved again, to Uccle (Ukkel), a suburb of Brussels, Belgium.[1][2] World War II forced them to move in January 1941, this time to Baarn, Netherlands, where Escher lived until 1970.[1] Most of Escher's best-known works date from this period. The sometimes cloudy, cold, and wet weather of the Netherlands allowed him to focus intently on his work.[1] After 1953, Escher lectured widely. A planned series of lectures in North America in 1962 was cancelled after an illness, and he stopped creating artworks for a time,[1] but the illustrations and text for the lectures were later published as part of the book Escher on Escher.[13] He was awarded the Knighthood of the Order of Orange-Nassau in 1955;[1] he was later made an Officer in 1967.[14]
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. These shrink to infinity toward both the center and the edge of a circle. It was exceptionally elaborate, being printed using three blocks, each rotated three times about the center of the image and precisely aligned to avoid gaps and overlaps, for a total of nine print operations for each finished print. The image encapsulates Escher's love of symmetry; of interlocking patterns; and, at the end of his life, of his approach to infinity.[15][16][17] The care that Escher took in creating and printing this woodcut can be seen in a video recording.[18]
Escher moved to the Rosa Spier Huis in Laren in 1970, an artists' retirement home in which he had his own studio. He died in a hospital in Hilversum on 27 March 1972, aged 73.[1][2] He is buried at the New Cemetery in Baarn.[19][20]
Mathematically inspired work
Further information: Mathematics and art
Escher's work is inescapably mathematical. This has caused a disconnect between his full-on popular fame and the lack of esteem with which he has been viewed in the art world. His originality and mastery of graphic techniques are respected, but his works have been thought too intellectual and insufficiently lyrical. Movements such as conceptual art have, to a degree, reversed the art world's attitude to intellectuality and lyricism, but this did not rehabilitate Escher, because traditional critics still disliked his narrative themes and his use of perspective. However, these same qualities made his work highly attractive to the public.[21]
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.[22][23] Another early artistic forerunner is Giovanni Battista Piranesi (1720–1778), whose dark "fantastical"[24] prints such as The Drawbridge in his Carceri ("Prisons") sequence depict perspectives of complex architecture with many stairs and ramps, peopled by walking figures.[24][25] Only with 20th century movements such as Cubism, De Stijl, Dadaism, and Surrealism did mainstream art start to explore Escher-like ways of looking at the world with multiple simultaneous viewpoints.[21] However, although Escher had much in common with, for example, Magritte's surrealism, he did not make contact with any of these movements.[26]
Forerunner of Escher's curved perspectives, geometries, and reflections: Parmigianino's Self-portrait in a Convex Mirror, 1524
Forerunner of Escher's impossible perspectives: William Hogarth's Satire on False Perspective, 1753
Forerunner of Escher's fantastic endless stairs: Piranesi's Carceri Plate VII – The Drawbridge, 1745, reworked 1761
Tessellation
Further information: Tessellation
In his early years, Escher sketched landscapes and nature. He also sketched insects such as ants, bees, grasshoppers, and mantises,[27], which appeared frequently in his later work. 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. He wrote, "Mathematicians have opened the gate leading to an extensive domain".[28]
Hexagonal tessellation with animals: Study of Regular Division of the Plane with Reptiles (1939). Escher reused the design in his 1943 lithograph Reptiles.
After his 1936 journey to the Alhambra and to La Mezquita, Cordoba, where he sketched the Moorish architecture and the tessellated mosaic decorations,[29], Escher began to explore the properties and possibilities of tessellation using geometric grids as the basis for his sketches. He then extended these to form complex interlocking designs, for example with animals such as birds, fish, and reptiles.[30] One of his first attempts at a tessellation was his pencil, India ink, and watercolour Study of Regular Division of the Plane with Reptiles (1939), constructed on a hexagonal grid. The heads of the red, green, and white reptiles meet at a vertex; the tails, legs, and sides of the animals interlock exactly. It was used as the basis for his 1943 lithograph Reptiles.[31]
His first study of mathematics began with papers by George Pólya[32] and by the crystallographer Friedrich Haag[33] on plane symmetry groups, sent to him by his brother Berend, a geologist.[34] He carefully studied the 17 canonical wallpaper groups and created periodic tilings with 43 drawings of different types of symmetry.[c] From this point on, he developed a mathematical approach to expressions of symmetry in his artworks using his own notation. Starting in 1937, he created woodcuts based on the 17 groups. His Metamorphosis I (1937) began a series of designs that told a story through the use of pictures. In Metamorphosis I, he transformed convex polygons into regular patterns in a plane to form a human motif. He extended the approach in his piece Metamorphosis III, which is four metres long.[8][35]
In 1941 and 1942, Escher summarized his findings for his own artistic use in a sketchbook, which he labeled (following Haag) Regelmatige vlakverdeling in asymmetrische congruente veelhoeken ("Regular division of the plane with asymmetric congruent polygons").[36] The mathematician Doris Schattschneider unequivocally described this notebook as recording "a methodical investigation that can only be termed mathematical research."[34] She defined the research questions he was following as
(1) What are the possible shapes for a tile that can produce a regular division of the plane, that is, a tile that can fill the plane with its congruent images such that every tile is surrounded in the same manner?
(2) Moreover, in what ways are the edges of such a tile related to each other by isometries?[34]
Geometries
Further information: Perspective (geometry) and Curvilinear perspective
Multiple viewpoints and impossible stairs: Relativity, 1953
Although Escher did not have mathematical training—his understanding of mathematics was largely visual and intuitive—his art had a strong mathematical component, and several of the worlds that he drew were built around impossible objects. After 1924, Escher turned to sketching landscapes in Italy and Corsica with irregular perspectives that are impossible in natural form. His first print of an impossible reality was Still Life and Street (1937); impossible stairs and multiple visual and gravitational perspectives feature in popular works such as Relativity (1953). House of Stairs (1951) attracted the interest of the mathematician Roger Penrose and his father, the biologist Lionel Penrose. In 1956, they published a paper, "Impossible Objects: A Special Type of Visual Illusion" and later sent Escher a copy. Escher replied, admiring the Penroses' continuously rising flights of steps, and enclosed a print of Ascending and Descending (1960). The paper also contained the tribar or Penrose triangle, which Escher used repeatedly in his lithograph of a building that appears to function as a perpetual motion machine, Waterfall (1961).[37][38][39][40]
Escher was interested enough in Hieronymus Bosch's 1500 triptych The Garden of Earthly Delights to re-create part of its right-hand panel, Hell, as a lithograph in 1935. He reused the figure of a Mediaeval woman in a two-pointed headdress and a long gown in his lithograph Belvedere in 1958; the image is, like many of his other "extraordinary invented places",[41] peopled with "jesters, knaves, and contemplators".[41] Thus, Escher not only was interested in possible or impossible geometry but was, in his own words, a "reality enthusiast";[41] he combined "formal astonishment with a vivid and idiosyncratic vision".[41]
Perpetual motion machine with Penrose triangles: Waterfall, 1961
Escher worked primarily in the media of lithographs and woodcuts, although the few mezzotints he made are considered to be masterpieces of the technique. In his graphic art, he portrayed mathematical relationships among shapes, figures, and space. Integrated into his prints were mirror images of cones, spheres, cubes, rings, and spirals.[42]
Escher was also fascinated by mathematical objects such as the Möbius strip, which has only one surface. His wood engraving Möbius Strip II (1963) depicts a chain of ants marching forever over what, at any one place, are the two opposite faces of the object—which are seen on inspection to be parts of the strip's single surface. In Escher's own words:[43]
An endless ring-shaped band usually has two distinct surfaces, one inside and one outside. Yet on this strip nine red ants crawl after each other and travel the front side as well as the reverse side. Therefore the strip has only one surface.[43]
The mathematical influence in his work became prominent after 1936, when, having boldly asked the Adria Shipping Company if he could sail with them as travelling artist in return for making drawings of their ships, they surprisingly agreed, and he sailed the Mediterranean, becoming interested in order and symmetry. Escher described this journey, including his repeat visit to the Alhambra, as "the richest source of inspiration I have ever tapped".[8]
Escher's interest in curvilinear perspective was encouraged by his friend and "kindred spirit",[44] the art historian and artist Albert Flocon, in another example of constructive mutual influence. Flocon identified Escher as a "thinking artist"[44] alongside Piero della Francesca, Leonardo da Vinci, Albrecht Dürer, Wenzel Jamnitzer, Abraham Bosse, Girard Desargues, and Père Nicon.[44] Flocon was delighted by Escher's Grafiek en tekeningen ("Graphics in Drawing"), which he read in 1959. This stimulated Flocon and André Barre to correspond with Escher and to write the book La Perspective curviligne ("Curvilinear perspective").[45]
Platonic and other solids
Sculpture of a small stellated dodecahedron, as in Escher's 1952 work Gravitation (University of Twente)
Escher often incorporated three-dimensional objects such as the Platonic solids such as spheres, tetrahedrons, and cubes into his works, as well as mathematical objects such as cylinders and stellated polyhedra. In the print Reptiles, he combined two- and three-dimensional images. In one of his papers, Escher emphasized the importance of dimensionality:[46]
The flat shape irritates me—I feel like telling my objects, you are too fictitious, lying there next to each other static and frozen: do something, come off the paper and show me what you are capable of! ... So I make them come out of the plane. ... My objects ... may finally return to the plane and disappear into their place of origin.[46]
Escher's artwork is especially well-liked by mathematicians such as Doris Schattschneider and scientists such as Roger Penrose, who enjoy his use of polyhedra and geometric distortions.[34] For example, in Gravitation, animals climb around a stellated dodecahedron.[47]
The two towers of Waterfall's impossible building are topped with compound polyhedra, one a compound of three cubes, the other a stellated rhombic dodecahedron now known as Escher's solid. Escher had used this solid in his 1948 woodcut Stars, which also contains all five of the Platonic solids and various stellated solids, representing stars; the central solid is animated by chameleons climbing through the frame as it whirls in space. Escher possessed a 6 cm refracting telescope and was a keen-enough amateur astronomer to have recorded observations of binary stars.[48][49][50]
Levels of reality
Drawing Hands, 1948
Escher's artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. His interest in the multiple levels of reality in art is seen in works such as Drawing Hands (1948), where two hands are shown, each drawing the other. The critic Steven Poole commented that[41]
It is a neat depiction of one of Escher's enduring fascinations: the contrast between the two-dimensional flatness of a sheet of paper and the illusion of three-dimensional volume that can be created with certain marks. In Drawing Hands, space and the flat plane coexist, each born from and returning to the other, the black magic of the artistic illusion made creepily manifest.[41]
Infinity and hyperbolic geometry
Doris Schattschneider's reconstruction of the diagram of hyperbolic tiling sent by Escher to the mathematician H. S. M. Coxeter[34]
In 1954, the International Congress of Mathematicians met in Amsterdam, and N. G. de Bruin organized a display of Escher's work at the Stedelijk Museum for the participants. Both Roger Penrose and H. S. M. Coxeter were deeply impressed with Escher's intuitive grasp of mathematics. Inspired by Relativity, Penrose devised his tribar, and his father, Lionel Penrose, devised an endless staircase. Roger Penrose sent sketches of both objects to Escher, and the cycle of invention was closed when Escher then created the perpetual motion machine of Waterfall and the endless march of the monk-figures of Ascending and Descending.[34] In 1957, Coxeter obtained Escher's permission to use two of his drawings in his paper "Crystal symmetry and its generalizations".[34][51] He sent Escher a copy of the paper; Escher recorded that Coxeter's figure of a hyperbolic tessellation "gave me quite a shock": the infinite regular repetition of the tiles in the hyperbolic plane, growing rapidly smaller towards the edge of the circle, was precisely what he wanted to allow him to represent infinity on a two-dimensional plane.[34][52]
Hyperbolic tessellation: Circle Limit III, 1959
Escher carefully studied Coxeter's figure, marking it up to analyse the successively smaller circles[d] with which (he deduced) it had been constructed. He then constructed a diagram, which he sent to Coxeter, showing his analysis; Coxeter confirmed it was correct, but disappointed Escher with his highly technical reply. All the same, Escher persisted with hyperbolic tiling, which he called "Coxetering".[34] Among the results were the series of wood engravings Circle Limit I–IV.[34] In 1959, Coxeter published his finding that these works were extraordinarily accurate: "Escher got it absolutely right to the millimeter".[53]
Legacy
The Escher Museum in The Hague. The poster shows a detail from Day and Night, 1938
Escher's special way of thinking and rich graphics have had a continuous influence in mathematics and art, as well as in popular culture.
In art collections
The Escher intellectual property is controlled by the M.C. Escher Company, while exhibitions of his artworks are managed separately by the M.C. Escher Foundation.[e]
The primary institutional collections of original works by M.C. Escher are the Escher Museum in The Hague; the National Gallery of Art (Washington, DC);[56] the National Gallery of Canada (Ottawa);[57] the Israel Museum (Jerusalem);[58] and the Huis ten Bosch (Nagasaki, Japan).[59]
Exhibitions
Poster advertising the first major exhibition of Escher's work in Britain (Dulwich Picture Gallery, 14 October 2015 – 17 January 2016). The image is based on Hand with Reflecting Sphere, 1935.[f]
Despite wide popular interest, Escher was for a long time somewhat neglected in the art world; even in his native Netherlands, he was 70 before a retrospective exhibition was held.[41][g] In the twenty-first century, major exhibitions have been held in cities across the world.[62][63][64] An exhibition of his work in Rio de Janeiro attracted more than 573,000 visitors in 2011;[62] its daily visitor count of 9,677 made it the most visited museum exhibition of the year, anywhere in the world.[65] No major exhibition of Escher's work was held in Britain until 2015, when the Scottish National Gallery of Modern Art ran one in Edinburgh from June to September 2015,[63] moving in October 2015 to the Dulwich Picture Gallery, London.[60] The exhibition moved to Italy in 2015–2016, attracting over 500,000 visitors in Rome and Bologna,[64] and then Milan.[66][67][68]
In mathematics and science
Wall tableau of one of Escher's bird tessellations at the Princessehof Ceramics Museum in Leeuwarden
Doris Schattschneider identifies 11 strands of mathematical and scientific research anticipated or directly inspired by Escher. These are the classification of regular tilings using the edge relationships of tiles: two-color and two-motif tilings (counterchange symmetry or antisymmetry); color symmetry (in crystallography); metamorphosis or topological change; covering surfaces with symmetric patterns; Escher's algorithm (for generating patterns using decorated squares); creating tile shapes; local versus global definitions of regularity; symmetry of a tiling induced by the symmetry of a tile; orderliness not induced by symmetry groups; the filling of the central void in Escher's lithograph Print Gallery by H. Lenstra and B. de Smit.[34]
The Pulitzer Prize-winning 1979 book Gödel, Escher, Bach by Douglas Hofstadter[69] discusses the ideas of self-reference and strange loops, drawing on a wide range of artistic and scientific sources including Escher's art and the music of J. S. Bach.
The asteroid 4444 Escher was named in Escher's honor in 1985.[70]
In popular culture
Main article: M. C. Escher in popular culture
Escher's fame in popular culture grew when his work was featured by Martin Gardner in his April 1966 "Mathematical Games" column in Scientific American.[71] Escher's works have appeared on many album covers including The Scaffold's 1969 L the P with Ascending and Descending; Mott the Hoople's eponymous 1969 record with Reptiles, Beaver & Krause's 1970 In A Wild Sanctuary with Three Worlds; and Mandrake Memorial's 1970 Puzzle with House of Stairs and (inside) Curl Up.[h] His works have similarly been used on many book covers, including some editions of Edwin Abbott's Flatland, which used Three Spheres; E. H. Gombrich's Meditations on a Hobby Horse with Horseman; Pamela Hall's Heads You Lose with Plane Filling 1; Patrick A. Horton's Mastering the Power of Story with Drawing Hands; Erich Gamma et al.'s Design Patterns: Elements of Reusable Object-oriented software with Swans; and Arthur Markman's Knowledge Representation with Reptiles.[i] The "World of Escher" markets posters, neckties, T-shirts, and jigsaw puzzles of Escher's artworks.[74] Both Austria and the Netherlands have issued postage stamps commemorating the artist and his works.[12][75]
Selected works
Trees, ink (1920)
St. Bavo's, Haarlem, ink (1920)
Flor de Pascua (The Easter Flower), woodcut/book illustrations (1921)
Eight Heads, woodcut (1922)
Dolphins also known as Dolphins in Phosphorescent Sea, woodcut (1923)
Tower of Babel, woodcut (1928)
Street in Scanno, Abruzzi, lithograph (1930)
Castrovalva, lithograph (1930)
The Bridge, lithograph (1930)
Palizzi, Calabria, woodcut (1930)
Pentedattilo, Calabria, lithograph (1930)
Atrani, Coast of Amalfi, lithograph (1931)
Ravello and the Coast of Amalfi, lithograph (1931)
Covered Alley in Atrani, Coast of Amalfi, wood engraving (1931)
Phosphorescent Sea, lithograph (1933)
Still Life with Spherical Mirror, lithograph (1934)
Hand with Reflecting Sphere also known as Self-Portrait in Spherical Mirror, lithograph (1935)
Inside St. Peter's, wood engraving (1935)
Portrait of G.A. Escher, lithograph (1935)
"Hell", lithograph, (copied from a painting by Hieronymus Bosch) (1935)
Regular Division of the Plane, series of drawings that continued until the 1960s (1936)
Still Life and Street (his first impossible reality), woodcut (1937)
Metamorphosis I, woodcut (1937)
Day and Night, woodcut (1938)
Cycle, lithograph (1938)
Sky and Water I, woodcut (1938)
Sky and Water II, lithograph (1938)
Metamorphosis II, woodcut (1939–1940)
Verbum (Earth, Sky and Water), lithograph (1942)
Reptiles, lithograph (1943)
Ant, lithograph (1943)
Encounter, lithograph (1944)
Doric Columns, wood engraving (1945)
Balcony, lithograph (1945)
Three Spheres I, wood engraving (1945)
Magic Mirror, lithograph (1946)
Three Spheres II, lithograph (1946)
Another World Mezzotint also known as Other World Gallery, mezzotint (1946)
Eye, mezzotint (1946)
Another World also known as Other World, wood engraving and woodcut (1947)
Crystal, mezzotint (1947)
Up and Down also known as High and Low, lithograph (1947)
Drawing Hands, lithograph (1948)
Dewdrop, mezzotint (1948)
Stars, wood engraving (1948)
Double Planetoid, wood engraving (1949)
Order and Chaos (Contrast), lithograph (1950)
Rippled Surface, woodcut and linoleum cut (1950)
Curl-up, lithograph (1951)
House of Stairs, lithograph (1951)
House of Stairs II, lithograph (1951)
Puddle, woodcut (1952)
Gravitation, (1952)
Dragon, woodcut lithograph and watercolor (1952)
Cubic Space Division, lithograph (1952)
Relativity, lithograph (1953)
Tetrahedral Planetoid, woodcut (1954)
Compass Rose (Order and Chaos II), lithograph (1955)
Convex and Concave, lithograph (1955)
Three Worlds, lithograph (1955)
Print Gallery, lithograph (1956)
Mosaic II, lithograph (1957)
Cube with Magic Ribbons, lithograph (1957)
Belvedere, lithograph (1958)
Sphere Spirals, woodcut (1958)
Circle Limit III, woodcut (1959)
Ascending and Descending, lithograph (1960)
Waterfall, lithograph (1961)
Möbius Strip II (Red Ants), woodcut (1963)
Knot, pencil and crayon (1966)
Metamorphosis III, woodcut (1967–1968)
Snakes, woodcut (1969)
See also
Art portal
Visual Arts portal
Victor Vasarely
Notes
Jump up ^ "We named him Maurits Cornelis after S.'s [Sara's] beloved uncle Van Hall, and called him 'Mauk' for short ...", Diary of Escher's father, quoted in M. C. Escher: His Life and Complete Graphic Work, Abradale Press, 1981, p. 9.
Jump up ^ The circled cross at the top of the image may indicate that the drawing is inverted, as can be seen by comparison with the photograph; the neighbouring image has a circled cross at the bottom. It is likely that Escher turned the drawing block, as convenient, while holding it in his hand in the Alhambra.
Jump up ^ Escher made it clear that he did not understand the abstract concept of a group, but he did grasp the nature of the 17 wallpaper groups in practice.[8]
Jump up ^ Schattschneider notes that Coxeter observed in March 1964 that the white arcs in Circle Limit III "were not, as he and others had assumed, badly rendered hyperbolic lines but rather were branches of equidistant curves."[34]
Jump up ^ In 1969, Escher's business advisor, Jan W. Vermeulen, author of a biography on the artist, established the M.C. Escher Foundation, and transferred into this entity virtually all of Escher's unique work as well as hundreds of his original prints. These works were lent by the Foundation to the Hague Museum. Upon Escher's death, his three sons dissolved the Foundation, and they became partners in the ownership of the art works. In 1980, this holding was sold to an American art dealer and the Hague Museum. The Museum obtained all of the documentation and the smaller portion of the art works. The copyrights remained the possession of Escher's three sons – who later sold them to Cordon Art, a Dutch company. Control was subsequently transferred to The M.C. Escher Company B.V. of Baarn, Netherlands, which licenses use of the copyrights on all of Escher's art and on his spoken and written text. A related entity, the M.C. Escher Foundation of Baarn, promotes Escher's work by organizing exhibitions, publishing books and producing films about his life and work.[54][55]
Jump up ^ The poster for the exhibition is based on Hand with Reflecting Sphere, 1935, which shows Escher in his house reflected in a handheld sphere, thus illustrating the artist, his interest in levels of reality in art (e.g., is the hand in the foreground more real than the reflected one?), perspective, and spherical geometry.[23][60][61]
Jump up ^ Steven Poole comments "The artist [Escher] who created some of the most memorable images of the 20th century was never fully embraced by the art world."[41]
Jump up ^ These and further albums are listed by Coulthart.[72]
Jump up ^ These and further books are listed by Bailey.[73]
References
^ Jump up to: a b c d e f g h i j k l "Chronology". World of Escher. Retrieved 1 November 2015.
^ Jump up to: a b c d e f "About M.C. Escher". Escher in het Paleis. Archived from the original on 27 January 2016. Retrieved 11 February 2016.
^ Jump up to: a b Bryden, Barbara E. Sundial: Theoretical Relationships Between Psychological Type, Talent, And Disease. Gainesville, Fla: Center for Applications of Psychological Type. ISBN 0-935652-46-9.
^ Jump up to: a b c Locher, 1974. p. 5
Jump up ^ Locher, 1974. p. 17
Jump up ^ Roza, Greg (2005). An Optical Artist: Exploring Patterns and Symmetry. Rosen Classroom. p. 20. ISBN 978-1-4042-5117-5.
Jump up ^ Monroe, J. T. (2004). Hispano-Arabic Poetry: A Student Anthology. Gorgias Press LLC. p. 65. ISBN 978-1-59333-115-3.
^ Jump up to: a b c d e f g h O'Connor, J. J.; Robertson, E. F. (May 2000). "Maurits Cornelius Escher". Biographies. University of St Andrews. Retrieved 2 November 2015. which cites Strauss, S. (9 May 1996). "M C Escher". The Globe and Mail.
Jump up ^ Ernst, Bruno, The Magic Mirror of M.C. Escher, Taschen, 1978; p. 15
Jump up ^ "Aircraft over the Netherlands". Stamp catalogue. Colnect.com. Retrieved 2016-03-31.
Jump up ^ Hathaway, Dale K. (2015-11-17). "Maurits Cornelis Escher (1898 - 1972)". Olivet Nazarene University. Retrieved 2016-03-31.
^ Jump up to: a b "M.C. Escher stamps". Stamp catalogue. Colnect.com. Retrieved 2016-03-31.
Jump up ^ Escher, M. C. (1989). Escher on Escher: Exploring the Infinite. Harry N. Abrams. ISBN 978-0-8109-2414-7.
Jump up ^ "Timeline". Escher in het Paleis. Retrieved 14 March 2018.
Jump up ^ Locher, 1974. p. 151
Jump up ^ "Snakes". M. C. Escher. Retrieved 5 November 2015.
Jump up ^ Cucker, Felipe (25 April 2013). Manifold Mirrors: The Crossing Paths of the Arts and Mathematics. Cambridge University Press. pp. 106–107. ISBN 978-0-521-42963-4.
Jump up ^ "M.C. Escher - Creating The "Snakes" Woodcut". YouTube. Retrieved 5 November 2015.
Jump up ^ M.C. Escher, Netherlands Institute for Art History, 2015. Retrieved 6 November 2015.
Jump up ^ M.C. Escher, Vorstelijk Baarn. Retrieved 6 November 2015.
^ Jump up to: a b Locher, 1974. p. 13
Jump up ^ Locher, 1974. pp. 11–12
^ Jump up to: a b "M.C. Escher — Life and Work". The Collection, National Gallery of Art. National Gallery of Art, Washington. Retrieved 1 November 2015. Escher and the interior of his studio in Rome are reflected in the mirrored sphere that he holds in his hand. Escher's preoccupation with mirrored reflections and visual illusion belongs to a tradition of northern European art established in the fifteenth century.
^ Jump up to: a b Altdorfer, John. "Inside A Fantastical Mind". Carnegie Museums. Archived from the original on 6 July 2010. Retrieved 7 November 2015.
Jump up ^ McStay, Chantal (15 August 2014). "Oneiric Architecture and Opium". The Paris Review. Retrieved 7 November 2015.
Jump up ^ Mansfield, 28 June 2015 (28 June 2015). "Escher, the master of impossible art". The Scotsman. Retrieved 7 November 2015.
Jump up ^ Locher, 1974. pp. 62–63
Jump up ^ Master the GRE 2013. Peterson's. 2012. p. 119. ISBN 978-0-7689-3681-0.
Jump up ^ Locher, 1974. pp. 17, 70–71
Jump up ^ Locher, 1974. pp. 79–85
Jump up ^ Locher, 1974. p. 18
Jump up ^ Pólya, G. (1924). "Über die Analogie der Kristallsymmetrie in der Ebene". Zeitschrift für Kristallographie (in German). 60: 278–282. doi:10.1524/zkri.1924.60.1.278.
Jump up ^ Haag, Friedrich (1911). "Die regelmäßigen Planteilungen" (PDF). Zeitschrift für Kristallographie (in German). 49: 360–369. doi:10.1524/zkri.1911.49.1.360. [permanent dead link]
^ Jump up to: a b c d e f g h i j k l Schattschneider, Doris (2010). "The Mathematical Side of M. C. Escher" (PDF). Notices of the AMS. American Mathematical Society. 57 (6): 706–718.
Jump up ^ Locher, 1974. p. 84
Jump up ^ Barry Cipra (1998). Paul Zorn, ed. What's Happening in the Mathematical Sciences, Volume 4. American Mathematical Society. p. 103. ISBN 0-8218-0766-8.
Jump up ^ Seckel, Al (2004). Masters of Deception: Escher, Dalí & the Artists of Optical Illusion. Sterling. pp. 81–94, 262. ISBN 978-1-4027-0577-9. Chapter 5 is on Escher.
Jump up ^ Penrose, L.S.; Penrose, R. (1958). "Impossible objects: A special type of visual illusion". British Journal of Psychology. 49: 31–33. doi:10.1111/j.2044-8295.1958.tb00634.x. PMID 13536303.
Jump up ^ Kirousis, Lefteris M.; Papadimitriou, Christos H. (1985). "The complexity of recognizing polyhedral scenes". 26th Annual Symposium on Foundations of Computer Science (FOCS 1985): 175–185. doi:10.1109/sfcs.1985.59.
Jump up ^ Cooper, Martin (2008). "Tractability of Drawing Interpretation". Line Drawing Interpretation. Springer-Verlag. pp. 217–230. doi:10.1007/978-1-84800-229-6_9. ISBN 978-1-84800-229-6.
^ Jump up to: a b c d e f g h Poole, Steven (20 June 2015). "The impossible world of MC Escher". The Guardian. Retrieved 2 November 2015.
Jump up ^ "The Official M.C. Escher Website – Biography". Retrieved 7 December 2013.
^ Jump up to: a b "Möbius Strip II, February 1963". Collections. National Gallery of Canada. Retrieved 2 November 2015. which cites Escher, M. C. (2001). M. C. Escher, the Graphic Work. Taschen.
^ Jump up to: a b c Emmer, Michele; Schattschneider, Doris; Ernst, Bruno (2007). M.C. Escher’s Legacy: A Centennial Celebration. Springer. pp. 10–16. ISBN 978-3-540-28849-7.
Jump up ^ Flocon, Albert; Barre, André (1968). La Perspective curviligne. Flammarion.
^ Jump up to: a b Emmer, Michele; Schattschneider, Doris (2007). M.C. Escher's Legacy: A Centennial Celebration. Springer. pp. 182–183. ISBN 978-3-540-28849-7.
Jump up ^ Hargittai, István (23 May 2014). Symmetry: Unifying Human Understanding. Elsevier Science. p. 128. ISBN 978-1-4831-4952-3.
Jump up ^ Locher, 1974. p. 104
Jump up ^ Beech, Martin. "Escher's Stars". Journal of the Royal Astronomical Society of Canada. 86: 169–177.
Jump up ^ Coxeter, H. S. M. (1985). "A special book review: M. C. Escher: His life and complete graphic work". The Mathematical Intelligencer. 7 (1): 59–69. doi:10.1007/BF03023010.
Jump up ^ Coxeter, H. S. M. Coxeter (June 1957). "Crystal symmetry and its generalizations". A Symposium on Symmetry, Transactions of the Royal Society of Canada. 51 (3, section 3): 1–13.
Jump up ^ Malkevitch, Joseph. "Mathematics and Art. 4. Mathematical artists and artist mathematicians". American Mathematical Society. Retrieved 1 September 2015.
Jump up ^ O'Connor, J. J.; Robertson, E. F. (May 2000). "Maurits Cornelius Escher". University of St Andrews. Retrieved 2 November 2015. which cites Schattschneider, D. (1994). Guy, R. K.; Woodrow, R. E., eds. Escher: A mathematician in spite of himself. The Lighter Side of Mathematics. Washington: The Mathematical Association of America. pp. 91–100.
Jump up ^ "Copyrights&Licensing". M.C. Escher. Retrieved 2 November 2015.
Jump up ^ "M.C. Escher Foundation". M.C. Escher. Retrieved 2 November 2015.
Jump up ^ "Tour: M.C. Escher — Life and Work". National Gallery of Art. Archived from the original on 23 December 2015. Retrieved 4 November 2015.
Jump up ^ "Collections: M.C. Escher". National Gallery of Canada. Retrieved 4 November 2015.
Jump up ^ "May 2013 (newsletter)". Israel Museum Jerusalem. Archived from the original on 5 July 2014. Retrieved 4 November 2015.
Jump up ^ "M. C. Escher" (in Japanese). Huis Ten Bosch Museum, Nagasaki. Retrieved 4 November 2015.
^ Jump up to: a b "The Amazing World of M.C. Escher". Dulwich Picture Gallery. Retrieved 1 November 2015.
Jump up ^ "Hand with Reflecting Sphere, 1935". The Collection, National Gallery of Art. National Gallery of Art, Washington. Archived from the original on 25 December 2015. Retrieved 1 November 2015.
^ Jump up to: a b "Exhibition of works by Dutch graphic artist M.C. Escher opens at Soestdijk Palace in Baarn". Artdaily. Retrieved 17 November 2015.
^ Jump up to: a b "The Amazing World of M.C. Escher". National Galleries Scotland. Retrieved 1 November 2015.
^ Jump up to: a b "Escher. Santa Caterina Complex". Italy Traveller Guide. Archived from the original on 17 November 2015. Retrieved 17 November 2015.
Jump up ^ "Top-attended museum show of 2011 is a surprise; also L.A. numbers". Los Angeles Times. 26 March 2013. Retrieved 18 November 2015. The exhibition was ranked No. 1 based on daily visitors. It saw 9,677 visitors a day, according to the Art Newspaper.
Jump up ^ "Mostra Escher Milano".
Jump up ^ "Chiostro del Bramante, Rome". Archived from the original on 8 October 2014. Retrieved 7 November 2015.
Jump up ^ "National Gallery of Canada". Retrieved 7 November 2015.
Jump up ^ Hofstadter, Douglas R. (1999) [1979], Gödel, Escher, Bach: An Eternal Golden Braid, Basic Books, ISBN 0-465-02656-7
Jump up ^ Schmadel, Lutz D. (2012). Dictionary of Minor Planet Names. Springer. p. 359. ISBN 978-3-642-29718-2.
Jump up ^ "Ignited by Martin Gardner, Ian Stewart Continues to Illuminate". The New York Times. 27 October 2014. It was Martin Gardner who was instrumental in spreading the awareness and understanding of Escher’s work
Jump up ^ Coulthart, John. "MC Escher album covers". Archived from the original on 17 February 2013. Retrieved 2 November 2015.
Jump up ^ Bailey, David. "M. C. Escher Miscellany". Archived from the original on 8 May 2017.
Jump up ^ "M.C. Escher: An Artist for the Web". The New York Times. 28 September 2000. Retrieved 7 November 2015.
Jump up ^ Hathaway, Dale K. (2015-11-17). "Maurits Cornelis Escher (1898 - 1972)". Olivet Nazarene University. Retrieved 2016-03-31.
Further reading
Books
Ernst, Bruno; Escher, M. C. (1995). The Magic Mirror of M. C. Escher. Taschen America. ISBN 1-886155-00-3.
Escher, M. C. (1971). The Graphic Work of M. C. Escher. Ballantine.
Locher, J. L. (1971). The World of M. C. Escher. Abrams. ISBN 0-451-79961-5.
Locher, J. L. (1981). M. C. Escher: His Life and Complete Graphic Work. Abrams. ISBN 978-0-8109-8113-3.
Schattschneider, Doris; Walker, Wallace (1987). M. C. Escher Kaleidocycles. Pomegranate Communications. ISBN 0-906212-28-6.
Schattschneider, Doris (2004). M. C. Escher : Visions of Symmetry. Abrams. ISBN 0-8109-4308-5.
Schattschneider, Doris; Emmer, Michele, eds. (2003). M. C. Escher's Legacy: a Centennial Celebration. Springer-Verlag. ISBN 3-540-42458-X.
Veldhuysen, W. F. (2006). The Magic of M. C. Escher. Thames & Hudson. ISBN 978-0-500-51289-0.
Media
Escher, M. C. The Fantastic World of M. C. Escher, Video collection of examples of the development of his art, and interviews, Director, Michele Emmer.
External links
Listen to this article (info/dl)

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Find more aboutM. C. Escherat Wikipedia's sister projects
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Quotations from Wikiquote
Official website
"Math and the Art of M.C. Escher". USA: SLU.
Artful Mathematics: The Heritage of M. C. Escher (PDF). USA: AMS.
Escherization problem and its solution. CA: University of Waterloo.
"Escher for Real". IL: Technion. Archived from the original on 20 January 2008. — physical replicas of some of Escher's "impossible" designs
"M.C. Escher: Life and Work". USA: NGA. Archived from the original on 3 August 2009.
"US Copyright Protection for UK Artists". UK. Archived from the original on 19 October 2011. Retrieved 3 November 2011. Copyright issue regarding Escher from the Artquest Artlaw archive.
Schattschneider, Doris (June–July 2010). "The Mathematical Side of M. C. Escher" (PDF). Notices of the American Mathematical Society. USA. 57 (6): 706–18. Retrieved 9 July 2010.
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M. C. Escher
Works
1910s
Escher's Father
Bookplate Bastiaan Kist
Chrysanthemum
Head of a child
Skull
Railway Bridge, Oosterbeek
Mascot
Portrait of a Man (I)
Self-Portrait (I)
Baby
Young Thrush
Bookplate M. C. Escher
Self-Portrait (II)
Jug
The Rag Pickers
Fiet van Stolk
Waves
Self-Portrait (III)
White Cat (I)
The Borger Oak
Portrait
Seated Man with cat on his lap
Tree
Self-Portrait (IV)
Parrot
White Cat (II)
Sea-shell
1920s
Self Portrait in a Chair
Rabbits
Female Nude in a Landscape
Wild West
The Fall of Men
Escher's Father with Magnifying Glass
Portrait of a Man (II)
Man Standing
Seated Old Woman
Flower
Seated Female Nude (I)
Seated Female Nude (II)
Seated Female Nude (III)
Roosje Ingen Housz
Poster
Plane-filling Motif with Human Figures
Paradise
Seated Female Nude (IV)
Seated Female Nude (V)
Hand with Fir Cone
St Francis
Eight Heads
Eagle, vignette
Dolphins
San Gimignano
Self-Portrait (V)
Portrait of Jetta
Vitorchiano nel Cimino
The First Day of the Creation
The Sixth Day of Creation
The Fall of Man
Procession in Crypt
Rome
Castle in the Air
Tower of Babel
Fara San Martino, Abruzzi
Corte, Corsica
The Drowned Cathedral
Infant Arthur Escher
Self-Portrait (VI)
Barbarano, Cimino
1930s
Street in Scanno, Abruzzi
Castrovalva
The Bridge
Fiumara, Calabria
Tropea, Calabria
Cloister near Rocca Imperiale, Calabria
Atrani, Coast of Amalfi
Covered Alley in Atrani
Ravello and the Coast of Amalfi
Coast of Amalfi
Farmhouse, Ravello
San Cosimo, Ravello
Turello, Southern Italy
Porta Maria dell'Ospidale, Ravello
Lion of the Fountain in the Piazza at Ravello
San Michele dei Frisone, Rome
Mumified Priests in Gangi, Sicily
Temple of Segeste, Sicily
Cave Dwellings (near Sperlinga) Sicily
Palm
Caltavuturo in the Madonie Mountains Sicily
Cloister of Monreale Sicily
Lava Flow of 1928 from Etna Sicily
Pineta of Calvi, Corsica
Phosphorescent Sea
Fireworks
Old Olive Tree, Corsica
Nonza, Corsica
Still Life with Mirror
Nocturnal Rome: Colonade of St Peter's
Nocturnal Rome: Santa Maria del Popolo
Nocturnal Rome: Trajan's Column
Nocturnal Rome: Basilica of Constantine
Nocturnal Rome: Castel Sant' Angelo
Nocturnal Rome: Colosseum
Aeroplane above Snowy Landscape
Still Life with Spherical Mirror
Hand with Reflecting Sphere
Regular Division of the Plane
Inside St Peter's
Portrait of G.A. Escher
Sengela, Malta
Hell, copy after Hieronymus Bosch
Snow
Prickly Flower
House in the Lava near Nunziata, Sicily
Still Life and Street
Metamorphosis I
Development I
Day and Night
Cycle
Sky and Water I
Sky and Water II
Entrance to the Oude Kerk, Delft
Development II (I)
Development II (II)
Oostpoort, Delft
Nieuwe Kerk, Delft
Town Hall, Delft
Voldersgracht, Delft
1940s
Metamorphosis II
Bookplate Dr. P.H.M. Travaglino
Horse (No. 8)
Sea Horse (No. 11)
Lizard (No. 15)
Eagle (No. 17)
Two Birds (No. 18)
Fish (No. 20)
Clowns (No. 21)
Bird / Fish (No. 22)
Lizard (No. 25)
Three Birds (No. 28)
Fish
Plane-filling Motif with Reptiles
Bird / Fish (No. 34)
Bird / Fish (No. 34B)
Dragonfly (No. 38)
Crab (No. 40)
Two Fish (No. 41)
Shells and Starfish (No. 42)
Bird (No. 44)
Angel-Devil (No. 45)
Verbum
Two Fish (No. 46)
Frog (No. 51)
Fish (No. 55)
Lizard (No. 56)
Two Fish (No. 57)
Two Fish (No. 58)
Two Fish (No. 59)
Two Lizards (No. 60)
Reptiles
Ant
Blowball (I)
Blowball (II)
Encounter
Two Creatures (No. 61)
Devil (No. 62)
Pessimist-Optimist (No. 63)
Balcony
Doric Columns
Three Spheres I
Diploma Tijdelijke Academie, Eindhoven
Winged Lion (No. 66)
Magic Mirror
Three Spheres II
Horseman
Mumified Frog
Eye
New Year's greeting-card
Gallery
Horseman (No. 67)
Another World
Up and Down
Drawing Hands
Dewdrop
Sun and Moon
Study for Stars
Stars
Fish / Duck / Lizard (No. 69)
Butterfly (No. 70)
Fish / Boat (No. 72)
New Year's greeting card
Plane-filling Motif with Birds
Regular Division of the Plane with Birds
Sea-shells
Fish and Frogs
Double Planetoid
Flying Fish (No. 73)
Horse / Bird (No. 76)
1950s
Order and Chaos
Rippled Surface
Devils (vignette)
Unicorn (No. 78)
Flying Fish / Bird (No. 80)
Predestination
Plane Filling I
Curl-up
House of Stairs
Bird / Fish (No. 82)
Thirty-Six Different Motifs (No. 83)
Bird / Fish (No. 8)
Two Intersecting Planes
Puddle
Dragon
Gravitation
Lizard / Fish / Bat (No. 85)
Two Birds (No. 87)
Sea Horse (No. 88)
Concentric Rinds
Relativity
Spirals
Beetle (No. 91)
Bookplate A.R.A. Wertheim
Tetrahedral Planetoide
Fish (No. 93)
Convex and Concave
Liberation
Rind
Depth
Three Worlds
Fish (No. 94)
Swan (No. 96)
Swans
Bond of Union
Print Gallery
Division
Smaller and Smaller
Lizards (No. 101)
Cube with Magic Ribbons
Plane Filling II
Whirlpools
Belvedere
Sphere Surface with Fish
Sphere Spirals
Flatworms
Circle Limit II
Circle Limit III
Lizard (No. 104)
Pegasus (No. 105)
1960s
Ascending and Descending
Circle Limit IV
Fish (No. 107)
Möbius Strip I
Waterfall
Creeping Creature (No. 109)
Fish, Fish / Bird (No. 109 II)
Bird / Fish (No. 110)
Möbius Strip II
Knots
Lizard (No. 124)
Path of Life III
Fish / Bird (No. 126)
Bird (No. 128)
Metamorphosis III
Snakes
Related
Escher Museum
Escher in popular culture
George Arnold Escher (father)
Berend George Escher (brother)
Mathematics and art
Video games inspired by Escher
Adventures in Perception (1971 documentary)
Gödel, Escher, Bach (1979 book)
show
v
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e
Mathematics and art
Concepts
Algorithm
Catenary
Fractal
Golden ratio
Plastic number
Hyperboloid structure
Minimal surface
Paraboloid
Perspective
Camera lucida
Camera obscura
Projective geometry
Proportion
Architecture
Human
Symmetry
Tessellation
Wallpaper group
Forms
Algorithmic art
Anamorphic art
Computer art
4D art
Fractal art
Islamic geometric patterns
Girih
Jali
Muqarnas
Zellige
Knotting
Architecture
Geodesic dome
Islamic
Mughal
Pyramid
Vastu shastra
Music
Origami
Textiles
String art
Sculpture
Tiling
Artworks
List of works designed with the golden ratio
Continuum
Octacube
Pi
Pi in the Sky
Buildings
Hagia Sophia
Pantheon
Parthenon
Pyramid of Khufu
Sagrada Família
St Mary's Cathedral
Sydney Opera House
Taj Mahal
Artists
Renaissance
Paolo Uccello
Piero della Francesca
Albrecht Dürer
Leonardo da Vinci
Vitruvian Man
Parmigianino
Self-portrait in a Convex Mirror
19th–20th Century
William Blake
The Ancient of Days
Newton
Jean Metzinger
Danseuse au café
L'Oiseau bleu
Man Ray
René Magritte
La condition humaine
Salvador Dalí
Crucifixion
The Swallow's Tail
Giorgio de Chirico
M. C. Escher
Circle Limit III
Print Gallery
Relativity
Reptiles
Waterfall
Contemporary
Martin and Erik Demaine
Scott Draves
Jan Dibbets
John Ernest
Helaman Ferguson
Peter Forakis
Bathsheba Grossman
George W. Hart
Desmond Paul Henry
John A. Hiigli
Anthony Hill
Charles Jencks
Garden of Cosmic Speculation
Robert Longhurst
István Orosz
Hinke Osinga
Hamid Naderi Yeganeh
A Bird in Flight
Boat
Tony Robbin
Oliver Sin
Hiroshi Sugimoto
Daina Taimina
Roman Verostko
Theorists
Ancient
Polykleitos
Canon
Vitruvius
De architectura
Renaissance
Luca Pacioli
De divina proportione
Piero della Francesca
De prospectiva pingendi
Leon Battista Alberti
De pictura
De re aedificatoria
Sebastiano Serlio
Regole generali d'architettura
Andrea Palladio
I quattro libri dell'architettura
Albrecht Dürer
Vier Bücher von Menschlicher Proportion
Romantic
Frederik Macody Lund
"Ad Quadratum"
Jay Hambidge
"The Greek Vase"
Samuel Colman
"Nature's Harmonic Unity"
Modern
Owen Jones
The Grammar of Ornament
Ernest Hanbury Hankin
The Drawing of Geometric Patterns in Saracenic Art
G. H. Hardy
A Mathematician's Apology
George David Birkhoff
Aesthetic Measure
Douglas Hofstadter
Gödel, Escher, Bach
Nikos Salingaros
The 'Life' of a Carpet
Publications
Journal of Mathematics and the Arts
Organizations
Ars Mathematica
The Bridges Organization
European Society for Mathematics and the Arts
Goudreau Museum of Mathematics in Art and Science
Institute For Figuring
Museum of Mathematics
Related topics
Droste effect
Mathematical beauty
Patterns in nature
Sacred geometry
Category
Authority control
WorldCat Identities
BIBSYS: 90062469
BNE: XX916897
BNF: cb12604568f (data)
BPN: 00499434
CiNii: DA00887548
GND: 118531069
ISNI: 0000 0001 0865 0831
LCCN: n79007761
LNB: 000034314
MusicBrainz: 3b27c80f-bc9b-4a22-825d-21a258f3ed30
NDL: 00513110
NKC: jn20000703063
RKD: 26631
ICCU: IT\ICCU\CFIV\105466
SELIBR: 185645
SNAC: w6cc1jcz
SUDOC: 026852934
ULAN: 500007222
VIAF: 5051087
Retrieved from "https://en.wikipedia.org/w/index.php?title=M._C._Escher&oldid=851744422"
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http://mathcs.slu.edu/escher

values: Notices of the American Mathematical Society

values: Plane-filling Motif with Human Figures (page does not exist)

values: Day and Night (M. C. Escher) (page does not exist)

values: Cycle (M. C. Escher) (page does not exist)

values: Development II (I) (page does not exist)

values: Development II (II) (page does not exist)

values: Sea Horse (No. 11) (page does not exist)

values: Two Birds (No. 18) (page does not exist)

values: Bird / Fish (No. 22) (page does not exist)

values: Three Birds (No. 28) (page does not exist)

values: Fish (M. C. Escher) (page does not exist)

values: Plane-filling Motif with Reptiles (page does not exist)

values: Bird / Fish (No. 34) (page does not exist)

values: Bird / Fish (No. 34B) (page does not exist)

values: Dragonfly (No. 38) (page does not exist)

values: Shells and Starfish (No. 42) (page does not exist)

values: Angel-Devil (No. 45) (page does not exist)

values: Verbum (M. C. Escher) (page does not exist)

values: Two Lizards (No. 60) (page does not exist)

values: Encounter (M. C. Escher) (page does not exist)

values: Two Creatures (No. 61) (page does not exist)

values: Pessimist-Optimist (No. 63) (page does not exist)

values: Balcony (M. C. Escher) (page does not exist)

values: Winged Lion (No. 66) (page does not exist)

values: Horseman (M. C. Escher) (page does not exist)

values: Gallery (M. C. Escher) (page does not exist)

values: Up and Down (M. C. Escher) (page does not exist)

values: Dewdrop (M. C. Escher) (page does not exist)

values: Sun and Moon (M. C. Escher) (page does not exist)

values: Fish / Duck / Lizard (No. 69) (page does not exist)

values: Butterfly (No. 70) (page does not exist)

values: Fish / Boat (No. 72) (page does not exist)

values: Plane-filling Motif with Birds (page does not exist)

values: Regular Division of the Plane with Birds (page does not exist)

values: Flying Fish (No. 73) (page does not exist)

values: Horse / Bird (No. 76) (page does not exist)

values: Order and Chaos (M. C. Escher) (page does not exist)

values: Flying Fish / Bird (No. 80) (page does not exist)

values: Predestination (M. C. Escher) (page does not exist)

values: Bird / Fish (No. 82) (page does not exist)

values: Thirty-Six Different Motifs (No. 83) (page does not exist)

values: Bird / Fish (No. 8) (page does not exist)

values: Two Intersecting Planes (page does not exist)

values: Lizard / Fish / Bat (No. 85) (page does not exist)

values: Two Birds (No. 87) (page does not exist)

values: Sea Horse (No. 88) (page does not exist)

values: Spirals (M. C. Escher) (page does not exist)

values: Tetrahedral Planetoide (page does not exist)

values: Liberation (M. C. Escher) (page does not exist)

values: Rind (M. C. Escher) (page does not exist)

values: Depth (M. C. Escher) (page does not exist)

values: Swans (M. C. Escher) (page does not exist)

values: Division (M. C. Escher) (page does not exist)

values: Whirlpools (M. C. Escher) (page does not exist)

values: Sphere Surface with Fish (page does not exist)

values: Flatworms (M. C. Escher) (page does not exist)

values: Creeping Creature (No. 109) (page does not exist)

values: Fish, Fish / Bird (No. 109 II) (page does not exist)

values: Bird / Fish (No. 110) (page does not exist)

values: Knots (M. C. Escher) (page does not exist)

values: Fish / Bird (No. 126) (page does not exist)

values: Category:Video games inspired by M. C. Escher

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values: এম. সি. এশ্যর – Bangla

values: Maurits Cornelis Escher – Chinese (Min Nan)

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values: Мориц Корнелис Ешер – Bulgarian

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values: Эшер, Мауриц Корнелис – Russian

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