Synthesis, M.C. Escher, 1947
Maurits Cornelis Escher의 초상Maurits Cornelis Escher네덜란드, 1898–1972

Synthesis

1947 · Print

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〈Synthesis〉는 지금 어디에 있나요? 소장처: 내셔널 갤러리 오브 아트, 워싱턴 D.C. 현재 전시하지 않습니다. 확인일 2026년 11월 9일.

내셔널 갤러리 오브 아트

워싱턴 D.C., 미국

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작품 소개

Synthesis, M. C. Escher’s lithograph dated 1947, is in Washington, in the collection of the National Gallery of Art. Curved arrows connect scenes of trees, coal, oil equipment and raw materials around a central vessel. The separate scenes sit on rectangular platforms. This nearly square image measures 30.8 by 30.9 centimetres and comes from Seymour and Iris Schwartz’s collection.

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소장품 번호
1978.90.30

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Maurits Cornelis Escher의 생애 속 이 작품

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  1. 1 February 1944 – 1946

    The death of his teacher Mesquita

    On 1 February 1944 the Nazis arrested Samuel de Mesquita, who was of Jewish origin, with his family and sent them to Auschwitz; almost at once after arrival — presumably on 11 February — he and his wife were killed in the gas chamber. Escher helped to send his teacher’s works to the Stedelijk Museum in Amsterdam, keeping for himself a single sketch bearing the print of a German boot, and in 1946 organised a memorial exhibition there.

  2. c. 1945

    The end of the occupation: a diploma and an exhibition of the unyielding

    Escher lived through the German occupation in the Netherlands. Before the end of the war he designed a diploma for the Temporary Academy in Eindhoven — an institution in the liberated south-east of the country — and immediately after the war he took part in an exhibition of artists who had refused to collaborate with the Nazi regime.

  3. 1946–1951

    Mezzotint: a brief experiment

    In 1946 Escher became interested in intaglio printing, but it took too much time: until 1951 he made no more than seven mezzotint prints and never returned to intaglio, preferring tonal contrast to linear outline. These few works are considered masterpieces of the technique.

  4. 1949

    Rotterdam: a large exhibition of graphic work

    In 1949 Escher and two other artists held a large exhibition of their graphic work in Rotterdam; several works were sold, and the artists explained how they were made — Escher, for instance, said that for “Reptiles” he modelled a small plasticine figure and moved it across a table.

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