Maurits Cornelis EscherNizozemsko, 1898–1972

Liberation

1955 · Print

Je k vidění?

Momentálně není vystaveno

Kde je teď „Liberation“? Sbírka: Národní galerie ve Washingtonu, Washington, D.C. Momentálně není vystaveno. Ověřeno 2. listopadu 2026.

Národní galerie ve Washingtonu

Washington, D.C., Spojené státy americké

Patří do sbírky, ale momentálně není vystaveno.

Ověřeno: před 7 dny
Tento stav platí od: 19. 8. 2026
Zdroj: Muzeum

Na mapě Stránka muzea

Vložit na web

O díle

Liberation, dated 1955, is a lithograph by M. C. Escher held in Washington at the National Gallery of Art. Birds and geometric forms share its narrow vertical composition. The image measures about 43.7 centimetres high and 19.7 wide, within a sheet roughly 53 by 31.3 centimetres. This impression came from Cornelius Van S. Roosevelt.

Podrobnosti

Inventární číslo: 1974.28.56

Co zobrazuje

Bird Geometric

V katalogu

Grafika Litografie Poválečné umění 20. století Dutch

Zdroje

Národní galerie ve Washingtonu
Obrázek: Národní galerie ve Washingtonu — © the artist or rights holder

V životě: Maurits Cornelis Escher

Celý životopis

1954
An exhibition for the Mathematical Congress
In 1954, for the International Congress of Mathematicians in Amsterdam, an exhibition of Escher’s work organised by N. G. de Bruijn opened at the Stedelijk Museum; Roger Penrose and H. S. M. Coxeter were deeply impressed by his intuitive grasp of mathematics. The exhibition took up so much time that in 1954 Escher made only two works.
27 April 1955
Knight of the Order of Orange-Nassau
On 27 April 1955 Escher was made a Knight (fifth class) of the Order of Orange-Nassau; in 1967 Queen Juliana raised him to the rank of Officer.
1956–1960
The Penroses and “impossible figures”
“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 on impossible objects and later sent Escher a copy. He replied, admiring their continuously rising flights of steps, and enclosed a print of “Ascending and Descending” (1960); he went on to use the Penrose triangle repeatedly, notably in “Waterfall” (1961).
1957–1959
Coxeter and “Circle Limit”
In 1957 the geometer Donald Coxeter, with Escher’s permission, used two of his drawings in a paper on crystal symmetry and sent him a copy; the figure of a hyperbolic tessellation, with tiles shrinking rapidly towards the edge of a circle, “gave him quite a shock” — here was a way to represent infinity on a plane. He called his experiments “Coxetering”; they gave the series of wood engravings “Circle Limit I–IV”, and in 1959 Coxeter concluded that they were accurate to the millimetre.

Všechna díla