Maurits Cornelis EscherPays-Bas, 1898–1972

Baby

1927 · Drawing

Peut-on la contempler ?

Elle ne reçoit pas en ce moment

National Gallery of Art

Washington, États-Unis

Elle appartient à la collection, mais n’est pas présentée en ce moment.

Vérifié: il y a 3 jours
Dans cet état depuis: 19 août 2026
Source: Le musée

Sur la carte Page du musée

Notice

Numéro d’inventaire: 2004.159.3

Ce qu’elle montre

Figure Enfant Baby

Au catalogue

Dessins et aquarelles Graphite Modernisme XXe siècle Dutch

Sources

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

Pendant ce temps, chez Maurits Cornelis Escher

La vie entière

November 1923 – 1935
Rome and yearly journeys through Italy
From November 1923 Escher lived in Rome and until 1935 travelled each year for at least two months through Italy — Sicily, Abruzzo, Campania, and also Corsica, Malta and Tunisia; these journeys produced many landscapes whose perspective already hints at his later geometric experiments. He could not support his family on the sale of his work and lived on his father’s help.
1924–1935 · Lieu de travail
Rome
October 1925
A house in Frascati
Back in Italy, the Eschers bought an unfinished house in Frascati near Rome and moved into it in October 1925.
16 October 1925
The death of his brother Arnold; “The Days of Creation”
On 16 October 1925 Escher’s brother Arnold was killed in the mountains of South Tyrol, and the artist had to travel there to identify the body. It was after this that Escher made “The Days of Creation”.
July 1926
The birth of his son George
In July 1926 Escher and Jetta had a son, George, in Rome; King Victor Emmanuel III and Benito Mussolini attended the child’s christening. A second son, Arthur, was born in 1928.
1929
Five exhibitions in Holland and Switzerland
By the late 1920s Escher had become known in the Netherlands — not least through the efforts of his parents, who had moved to The Hague; in 1929 he held five exhibitions in Holland and Switzerland that were well received even in the most influential Dutch newspapers. It was then that his pictures were first called mechanical and “logical”.