Maurits Cornelis EscherΟλλανδία, 1898–1972

Whirlpools

1957 · Print

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Πού βρίσκεται τώρα το έργο «Whirlpools»; Συλλογή: Εθνική Πινακοθήκη της Ουάσιγκτον, Ουάσινγκτον. Δεν εκτίθεται αυτή την περίοδο. Ελέγχθηκε 9 Νοεμβρίου 2026.

Εθνική Πινακοθήκη της Ουάσιγκτον

Ουάσινγκτον, Ηνωμένες Πολιτείες Αμερικής

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Ενσωμάτωση

Για το έργο

For Whirlpools, made in 1957, M. C. Escher fitted fish into curving, concentric formations. The National Gallery of Art in Washington owns this partial proof of the wood engraving, printed in black. Its nearly square sheet measures 32.3 by 32.5 centimetres. The impression came from the collection of Cornelius Van S. Roosevelt.

Στοιχεία

Αριθμός καταλόγου: 1983.109.14

Τι απεικονίζει

Fishes Geometric

Στον κατάλογο

Χαρακτικά Ξυλογραφία Μεταπολεμική τέχνη 20ός αιώνας Dutch

Πηγές

Εθνική Πινακοθήκη της Ουάσιγκτον
Εικόνα: Εθνική Πινακοθήκη της Ουάσιγκτον — © the artist or rights holder

Στη ζωή του καλλιτέχνη: Maurits Cornelis Escher

Όλη η ζωή

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”.

Όλα τα έργα