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  3. Three Worlds
Three Worlds, Maurits Cornelis Escher, 1955
Maurits Cornelis Escher, portraitMaurits Cornelis EscherDutch, 1898–1972

Three Worlds

1955 · Print

May one see it?

Not receiving at present

Art Institute of Chicago

Chicago, United States

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

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

Particulars

1955 · aged 57
18981972
Accession number
1987.199.5

In the catalog

PrintsLithographPost-war art20th centuryNetherlands

Sources

  • Art Institute of Chicago
  • Image: Art Institute of Chicago — © 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 Art Institute of Chicago

Museum page
The Bedroom, Vincent van Gogh, 1889

Vincent van Gogh

The Bedroom, 1889

A Sunday on La Grande Jatte — 1884, Georges Seurat, 1884–86, border added 1888–89

Georges Seurat

A Sunday Afternoon on the Island of La Grande Jatte, 1884–86, border added 1888–89

Paris Street; Rainy Day, Gustave Caillebotte, 1877

Gustave Caillebotte

Paris Street; Rainy Day, 1877

Two Sisters (On the Terrace), Pierre-Auguste Renoir, 1881

Pierre-Auguste Renoir

Two Sisters (On the Terrace), 1881

The Basket of Apples, Paul Cézanne, c. 1893

Paul Cézanne

The Basket of Apples, c. 1893

Stacks of Wheat (End of Summer), Claude Monet, 1890–91

Claude Monet

Stacks of Wheat (End of Summer), 1890–91

American Gothic, Grant Wood, 1930

Grant Wood

American Gothic, 1930

Nighthawks, Edward Hopper, 1942

Edward Hopper

Nighthawks, 1942