Maurits Cornelis EscherNizozemsko, 1898–1972

Whirlpools

1957 · Print

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Kde je teď „Whirlpools“? 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

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Zdroj: Muzeum

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O díle

Whirlpools, M. C. Escher’s print of 1957, entered Washington’s National Gallery of Art with the Rosenwald Collection. This impression combines wood engraving and woodcut, using red, grey and black. It was printed from two blocks, possibly three. The sheet was included in a Rosenwald print exhibition in Richmond, Virginia, in 1965.

Podrobnosti

Inventární číslo: 1964.8.764

Co zobrazuje

Fishes Geometric

V katalogu

Grafika Dřevořez 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

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.
1958–1959
Books on tessellations and on his own graphic work
In 1958 came the book “Regelmatige vlakverdeling” (“Regular Division of the Plane”), on the systematic build-up of mathematical designs, and in 1959 “Grafiek en tekeningen” (“Graphics and Drawings”), in which Escher himself commented on 76 works. After reading it in 1959 Albert Flocon began a correspondence with the artist and wrote, with André Barre, the book “La Perspective curviligne”.

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