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Escher’s first unfeasible reality was “Still Life and Street” (1937), a landscape with an illusory dual perspective. There followed dexterously executed scenes where two-and three-dimensional planes blend seamlessly (“Reptiles”), staircases without beginning or end, locking those going up and down into a ceaseless loop (“Ascending and Descending”), compositions using geometric patterns (“Circle Limit”) or mathematical motifs to create physics-defying structures (“Waterfall”).

 

 

Escher’s mathematical wonderland is visually and conceptually dizzying and, from the 1960s on, became iconic: Escher turned down Mick Jagger’s invitation to design a Rolling Stones album cover, and his work features in films from Labyrinth to Inception. But although he shared an aesthetic with Dalí and Magritte, Escher worked alone, aloof from any art movement, and in black and white, for half a century until his death in 1972. His major influence was Arabic decorative patterning: visiting the Alhambra in 1922, he was enthralled by the tiled walls of tessellated mosaics. He assimilated their interlocking geometrical symmetries into large, complex woodcuts such as “Metamorphosis II”, where tessellations allow images to morph into one another: fish to birds, hives to bees, vast panoramas to chess pieces. It is not by chance that the title evokes Kafka: Escher — who also liked to draw insects — is a visual poet who found a crazy yet accessible language for mid-century angst and introspection.

Night And Day - Escher

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Night And Day - Escher Poster
Rolled • - 17x12 inches

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Night And Day - Escher Poster
Framed • - 17x12 inches

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Night And Day - Escher Art Print
Rolled • 12x8 inches

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Night And Day - Escher Art Print
Rolled • 18x12 inches

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Night And Day - Escher Art Print
Rolled • 24x16 inches

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Night And Day - Escher Art Print
Rolled • 30x20 inches

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Night And Day - Escher Canvas Print
Rolled • 12x8 inches

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Night And Day - Escher Canvas Print
Rolled • 18x12 inches

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Night And Day - Escher Canvas Print
Rolled • 24x16 inches

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Night And Day - Escher Canvas Print
Rolled • 30x20 inches

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Night And Day - Escher Canvas Print
Wrapped • 12x8 inches

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Night And Day - Escher Canvas Print
Wrapped • 18x12 inches

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Medium Size

Medium Size

Night And Day - Escher Canvas Print
Wrapped • 24x16 inches

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Large Size

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Night And Day - Escher Canvas Print
Wrapped • 30x20 inches

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Night And Day - Escher Canvas Framed Print
Framed • 12x8 inches

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Compact Size

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Night And Day - Escher Canvas Framed Print
Framed • 18x12 inches

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Medium Size

Medium Size

Night And Day - Escher Canvas Framed Print
Framed • 24x16 inches

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Large Size

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Night And Day - Escher Canvas Framed Print
Framed • 30x20 inches

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Small Size

Night And Day - Escher Framed Print
Framed With Mat • 12x8 inches

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Night And Day - Escher Framed Print
Framed With Mat • 18x12 inches

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Medium Size

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Night And Day - Escher Framed Print
Framed With Mat • 24x16 inches

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Large Size

Large Size

Night And Day - Escher Framed Print
Framed With Mat • 30x20 inches

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Night And Day - Escher Poster
Rolled • 30x24 inches

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Night And Day - Escher Poster
Framed • 30x24 inches

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Night And Day - Escher Large Canvas Print
Rolled • 36x24 inches

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Night And Day - Escher Large Canvas Print
Wrapped • 36x24 inches

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X-Large Size

Night And Day - Escher Large Framed Print
Framed With Mat • 36x24 inches

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Escher’s first unfeasible reality was “Still Life and Street” (1937), a landscape with an illusory dual perspective. There followed dexterously executed scenes where two-and three-dimensional planes blend seamlessly (“Reptiles”), staircases without beginning or end, locking those going up and down into a ceaseless loop (“Ascending and Descending”), compositions using geometric patterns (“Circle Limit”) or mathematical motifs to create physics-defying structures (“Waterfall”).     Escher’s mathematical wonderland is visually and conceptually dizzying and, from the 1960s on, became iconic: Escher turned down Mick Jagger’s invitation to design a Rolling Stones album cover, and his work features in films from Labyrinth to Inception. But although he shared an aesthetic with Dalí and Magritte, Escher worked alone, aloof from any art movement, and in black and white, for half a century until his death in 1972. His major influence was Arabic decorative patterning: visiting the Alhambra in 1922, he was enthralled by the tiled walls of tessellated mosaics. He assimilated their interlocking geometrical symmetries into large, complex woodcuts such as “Metamorphosis II”, where tessellations allow images to morph into one another: fish to birds, hives to bees, vast panoramas to chess pieces. It is not by chance that the title evokes Kafka: Escher — who also liked to draw insects — is a visual poet who found a crazy yet accessible language for mid-century angst and introspection.

M.C. Escher was a Dutch graphic artist known for his iconic optical illusions. Escher's lithographs, woodcuts, engravings, and drawings expressed a high level of technical expertise and meticulous attention to detail.

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