M.C. Escher Works Of Art

30 Amazing M.C. Escher Works Of Art

M.C. Escher is best known for his weird style of drawing. With the ability to draw what seems to be the impossible M.C. Escher has produced some beautiful works of art. His works have not only lasted many years, they have been used in many art classes and even math classes to help teach. Here are 30 of his great works of art.

Hand with Reflecting Sphere

1. Castle in the Air

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2. Hell

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3. Balcony

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4. Three Spheres II

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5. Bond of Union

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6. Gallery

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7. Other World

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8. Fish and Frogs

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9. Three Worlds

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10. Print Gallery

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11. Hand with Reflecting Sphere

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12. Day and Night

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13. Ascending and Descending

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14. Belvedere

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15. Reptiles

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16. Eye

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17. Waterfall

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18. Still Life with Spherical Mirror

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19. Sitll Life and Street

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20. Dewdrop

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21. Drawing Hands

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22. Up and Down

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23. Smaller and Smaller

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24. Rippled Surface

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25. Magic Mirror

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26. Moebius Strip II

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27. Palm

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28. Puddle

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29. Relativity

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30. Rind

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M.C. Escher was a graphic artist famous for his lithographs, mezzotints as well as woodcuts inspired by mathematics. Born in 1898, his very first amazing work came in 1937 with the print Still Life and Street, a piece of art which utilized the play on perspective that became known as “impossible reality”. The edge of the desk in the foreground carries on deep into the drawing and melds into a street and books sitting on the street appear to be leaning against the buildings behind them.

An instantly identifiable Escher work is Drawing Hands, created in 1948. The lithograph exhibits a paradox (a typical concept to his works) of two drawn hands “rising” out of the page to sketch their counterpart, bound at the wrists to the paper underneath them. The paradox develops from the reality that each one of the hands is being created at the same time by the other.

Sky and Water I, a woodcutting from 1938, is a regularly split plane switching the darkened images of birds with the light images of fish, securing together like puzzle pieces. The animals form a diamond shape with the birds becoming more clear to the eye at top, the fish at the bottom part and sharing the attention (determined by which shade the eye chooses to concentrate on) in the center. Escher said, “We associate flying with sky, and so for each of the black birds the sky in which it is flying is formed by the four white fish which encircle it. Similarly swimming makes us think of water, and therefore the four black birds that surround a fish become the water in which it swims. His work is frequently utilized in art, science and mathematics classes to exhibit the concept of visual perception.

Relativity, a 1953 lithograph, brings together the theme of paradox along with another frequent Escher theme- the staircase. In Relativity, the laws of gravity are disregarded in favor of rooms and staircases which are turned in every direction. The occupants of this world are proceeding about their day-to-day business (eating, mingling, walking, etc.) as though there is nothing amiss. Even though “people” are dressed in the identical clothes and also have strangely formed heads. The rooms which these people are in have gravity preserved within them irrespective of its position. The stairs lead from these rooms as well as follow the laws of gravity with regards to the rooms it accesses. However since more than one room pertains to each staircase, and those rooms are gravitationally irrelevant to each other, the staircases have two sides and are relatively abstract. It’s probably been one of Escher’s most well-known works and has been referenced many times in other media sources, such as the final showdown scenes within the children’s film Labyrinth.

The Ascending and Descending, a lithograph printed in 1960, exhibits a massive building whose roof is a never-ending staircase. Identically clothed men appear in two separate lines on the staircase, one going up while the other is going down. There are two people away from that grouping- a solitary figure inside the courtyard and one more on the lower staircase. Rather than utilizing relative proportions for an illusion of depth, Escher makes use of conflicting proportions to highlight his favorite paradoxes.

Via MC Escher

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