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  1. Collection/
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  3. Convex and Concave
Convex and Concave, M.C. Escher, 1955
Maurits Cornelis Escher, portraitMaurits Cornelis EscherDutch, 1898–1972

Convex and Concave

1955 · Print

May one see it?

Not receiving at present

National Gallery of Art

Washington, D.C., United States

It belongs to the collection, but is not on display at present.

Checked
3 days ago
In this state since
Aug 19, 2026
Source
The museum
On the mapMuseum page

Particulars

1955 · aged 57
18981972
Accession number
1974.28.55

What it shows

ArchitectureLadderFlagReptileBuildingBannerFigures

In the catalog

PrintsLithographPost-war art20th centuryDutch

Sources

  • National Gallery of Art
  • Image: National Gallery of Art — © the artist or rights holder

Meanwhile, in the life of Maurits Cornelis Escher

The whole life
  1. 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.

  2. 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.

  3. 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).

  4. 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.

More by Maurits Cornelis Escher

All works
Green Sea, M.C. Escher

Green Sea

Not on view · National Gallery of Art

Study for Regular Division of the Plane, M.C. Escher, n.d

Study for Regular Division of the Plane

n.d · Not on view · National Gallery of Art

Portrait, M.C. Escher

Portrait

Not on view · National Gallery of Art

(Color test for unidentified print), M.C. Escher

(Color test for unidentified print)

Not on view · National Gallery of Art

Pond, M.C. Escher

Pond

Not on view · National Gallery of Art

Railroad, M.C. Escher

Railroad

Not on view · National Gallery of Art

City with Rocks (verso), M.C. Escher

City with Rocks (verso)

Not on view · National Gallery of Art

Study for Regular Division of the Plane, M.C. Escher, n.d.

Study for Regular Division of the Plane

n.d. · Not on view · National Gallery of Art

Neighbors at National Gallery of Art

Museum page
Ginevra de' Benci [obverse], Leonardo da Vinci, c. 1474/1478

Leonardo da Vinci

Ginevra de' Benci [obverse], c. 1474/1478

Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], Leonardo da Vinci, c. 1474/1478

Leonardo da Vinci

Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], c. 1474/1478

Green Wheat Fields, Auvers, Vincent van Gogh, 1890

Vincent van Gogh

Green Wheat Fields, Auvers, 1890

Girl in White, Vincent van Gogh, 1890

Vincent van Gogh

Girl in White, 1890

Roses, Vincent van Gogh, 1890

Vincent van Gogh

Roses, 1890

Self-Portrait, Vincent van Gogh, 1889

Vincent van Gogh

Self-Portrait, 1889

Farmhouse in Provence, Vincent van Gogh, 1888

Vincent van Gogh

Farmhouse in Provence, 1888

La Mousmé, Vincent van Gogh, 1888

Vincent van Gogh

La Mousmé, 1888

On the same theme · Architecture

All works on the theme
American Gothic, Grant Wood, 1930

Grant Wood

American Gothic, 1930

Art Institute of Chicago

Nighthawks, Edward Hopper, 1942

Edward Hopper

Nighthawks, 1942

Art Institute of Chicago

Longitudinal View of Saint Peter's, Rome, Ambrogio Brambilla, after Michelangelo, 1575/1590

Michelangelo

Longitudinal View of Saint Peter's, Rome, 1575/1590

Not on view · National Gallery of Art

Munich - Meiserstrasse ?, Andy Warhol, June 1, 1982

Andy Warhol

Munich - Meiserstrasse ?, June 1, 1982

Not on view · National Gallery of Art

Buildings, Andy Warhol, n.d.

Andy Warhol

Buildings, n.d.

Not on view · National Gallery of Art

Munich - Meiserstrasse ?, Andy Warhol, June 1, 1982

Andy Warhol

Munich - Meiserstrasse ?, June 1, 1982

Not on view · National Gallery of Art

Flash—November 22, 1963, Andy Warhol, 1968

Andy Warhol

Flash—November 22, 1963, 1968

Not on view · National Gallery of Art

Munich - Meiserstrasse ?, Andy Warhol, June 1, 1982

Andy Warhol

Munich - Meiserstrasse ?, June 1, 1982

Not on view · National Gallery of Art