The question that is asked quite frequently is the question was Escher a mathmatician or an artist? some people say mathmatician others say artist but personally i believe it wa a little of both. to make those illusions and patterns he had 2 know a thing or two about numbers and calculations and things in that nature. he also have had 2 have artist ingfluence because who else would have such a great imagination to see those in his head.every great artist has a secret that holds signifgance to his or her painting and for escher it wa shis ability to make things pop out at you make them seem as though they were coming out just simply reaching for you.Escher was one of the few who has mastered a way of art that is of great work.
for example the drawing on the cover shows a hand wrapped around in such a way as if you were to actually try it yourself
would be just impossible to immitate.Escher is an important man to both art and math because if it weasnt for him peoples mind would expand they wouldn see things outside the box
Escher to me is an itelligent person that i believ sometimes when he draws it he cant believe what he is drawing
it just comes so easy to him that his imagination is so big and outrsid ethe box that not even himself can figure out his work.
Escher also is big on color because color really does make one thing different from another.Maurits Cornelis (M.C.) Escher was born on June 17, 1898, in the Dutch province of Friesland. His parents, George Arnold Escher and Sarah Gleichman Escher, had three sons of which Maurits (called Mauk for short) was the youngest. His father, George, was a civil engineer. The Escher family was living in Leeuwarden in 1898, where George served as Chief Engineer for a government bureau. The family lived in a grand house named “Princessehof,” which would later become a museum and host exhibitions of M.C. Escher’s works.
Young M.C. Escher moved with his family to Arnhem. He attended elementary and secondary school there, and also in the seaside town of Zandvoort, where he lived for a while to improve his health. In 1907, he started learning carpentry and piano. In secondary school, his marks were poor except in drawing. His art teacher took and interest in his drawing talent, and taught him to make linocuts. He failed his final exam and thus never officially graduated.
In 1913, M.C. Escher met his lifelong friend Bas Kist in religious school (which he attended at his parent’s direction, even though he wasn’t very religious). Kist was also interested in printing techniques, and may have encouraged M.C. to make his first linoleum cut works. Amoung these early works is a portrait of his father which is the oldest surviving work by the artist. In 1917, the two friends visited the artist Gert Stegeman, who had a printing press in his studio. Some of M.C.’s work from this year were apparently printed at Stegeman’s.
Also, in 1917, the Escher family moved to Oosterbeek, Holland. During this year and the following few years, M.C. Escher and his friends became very involved in literature, and M.C. began to write some of his own poems and essays.
In 1918, Escher began private lessons and studies in architecture at the Higher Technology School in Delft. He managed to get a deferrement on military service in order to study, but poor health prevented him from keeping up with the curriculum. He was rejected for enlistment in the military service in 1919, and as a result could not continue school (he had never successfully graduated from high school!). During this difficult period, Escher did many drawings, and also began using woodcuts as a medium. It was also at this time that his work began to receive favorable reviews in the media.
Still trying to pursue a career in architecture, M.C. Escher next moved to Haarlem and began studies as the School for Architecture and Decorative Arts. After on a week in the city, he met the artist Jessurun de Mesquita. After seeing Escher’s drawings, Mesquita and the school’s director advised him to continue with them. He began full-time study of “the graphic and decorative arts” in the fall of 1919. Also at this time, he acquired a white cat as a present from his land-lady.
In 1921, Escher and his parents visited the Riviera and Italy. Unimpressed by the tropical flowers of the mediterranean climes, he made detailed drawings of cacti and olive trees. He also sought out high places and dramatic vistas to sketch, some of his later works were influenced by these sights.
Escher started to experiment with themes that would suffuse his later works around this time. The woodcuts he did for a humorous booklet Easter Flowers exhibit several: mirror images, crystal shapes, and spheres.
The first print by M.C. Escher to sell in large numbers was St. Francis (Preaching to the Birds), a woodcut that Escher claimed to have “worked on like a madman.” He finished out the year doing some sign work and a few commisioned prints. In 1922, in search of fresh inspiration, he decided to go to Italy.
The Nazi persecution of the Jews touched Escher in a very personal way. His old teacher, Samuel de Mesquita, a Jew, was taken away by the Nazis in January of 1944, and was killed. Escher helped to transfer Mesquita’s works at the Stedelijk Museum in Amsterdam. He kept for himself a sketch that bore the imprint of a German boot, and kept it with his drawing supplies for the rest of his life. In 1946, he organized a memorial showing for Mesquita at the Stedelijk
Immediately after the war ended, Escher participated in a show of works by artists who had refused to collaborate with the Nazi regime. Afterwards, he earned several new commissions, including one to make 400 copies of one of his prints for distribution to schools.
In 1946, Escher became interested in a new technique: mezzotint. While very laborious and time-consuming, the resulting works could show very subtle and delicate lines and shadings. Possible one of Escher’s most famous mezzotint works, and one that shows off the technique well, is the 1948 Dewdrop.
In 1949, Escher and two other artists held a major exhibition in Rotterdam. In addition to showing their prints, all of the artists gave talks and demonstrations about their technique. Escher sold dozens of prints, including one of the huge Metamorphosis.
In addition to doing woodcuts, lithographs, and an occasional mezzotint, Escher took on several unusual commissions in 1949/1950. Working with a weaver, he designed a tapestry, and at the request of manufacturing giant Philips of Holland, he designed a ceiling decoration for a factory (in celebration of the firm’s 60th anniversary). It is a good measure of Escher’s growing fame that he was beginning to get as many requests for these kinds of services as he could handle. Although some serious print collectors in America knew about Escher’s work, he was not yet popular outside of Europe.
Fame in America began for Escher with two magazine articles. Due to recognition in the art journal The Studio, Time-Life journalist Israel Shenker interviewed Escher at his home in Baarn. The interview took place in late 1950, and articles about Escher and his work appeared in the 4/2/51 Time and the 5/7/51 Life. The articles gained some attention, and orders for Escher work increased greatly.
Escher sometimes crafted models or figures in clay, wood, string, or other material to assist himself in visualizing subjects of his prints. For example, the famous Reptiles from 1943 depicts a tiny crocodile crawling out of a tesselation and over some books; according to his George Escher, the little croc was crafted from plasticine and posed with some items found on a desk. In 1951 Escher created a peculiarly compelling lithograph named House of Stairs which featured an odd little animal. Escher modeled the “curl-up” in clay prior to beginning the lithograph.
During the month of March, 1972, Escher’s condition deteriorated. His family gathered around him, taking turns sitting by his hospital bed. On March 27, 1972, he died, at the age of 73.