M.C. Escher :: essays research papers

The Dutch artist Maurits C. Escher (1898-1972) was a draftsman, book illustrator, tapestry designer, and muralist, but his primary lean was as a printmaker. Born in Leeuwarden, Holland, the son of a civilized engineer, Escher spent most of his childhood in Arnhem. Aspiring to be an architect, Escher enrolled in the School for Architecture and Decorative Arts in Harlem. dapple perusal there from 1919 to 1922, his emphasis shifted from computer architecture to drawing and printmaking upon the encouragement of his teacher Samuel Jessurun de Mesquita. In 1924 Escher married Jetta Umiker, and the couple settled in Rome to raise a family. They resided in Italy until 1935, when growing political turmoil forced them to move primary to Switzerland, then to Belgium. In 1941, with World War II under focus and German troops occupying Brussels, Escher returned to Holland and settled in Baarn, where he lived and worked until shortly forwards his death. The main subjects of Eschers early ar t are Rome and the Italian countryside. While living in Italy from 1922 to 1935, he spent the spring and summer months travel throughout the country to make drawings. Later, in his studio in Rome, Escher demonstrable these into prints. Whether depicting the winding roads of the Italian countryside, the dense architecture of nice hillside towns, or details of massive buildings in Rome, Escher often created enigmatic spacial effects by combining various -- often conflicting -- advantage points, for instance, looking up and down at the same time. He oft made such effects more dramatic through his sermon of light, using vivid contrasts of black and white.After Escher left Italy in 1935, his fire shifted from landscape to something he described as "mental imagery," often ground on theoretical premises. The lavish tile work adorning the Moorish architecture suggested new directions in the use of color and the flattened patterning of interlocking forms. alternate the abstr act patterns of Moorish tiles with recognizable figures, in the late 1930s Escher true "the regular division of the plane." The artist also used this concept in creating his Metamorphosis prints. Starting in the 1920s, the idea of "metamorphosis" -- one learn or object turning into something completely different -- became one of Eschers favourite themes. After 1935, Escher also increasingly explored complex architectural mazes involving perspective games and the histrionics of impossible spaces.