Maurits Cornelis EscherHollanda, 1898–1972

Balcony

1945 · Print

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“Balcony” şu anda nerede? Koleksiyon: Ulusal Sanat Galerisi, Washington. Şu anda sergilenmiyor. Kontrol edildi 2 Kasım 2026.

Ulusal Sanat Galerisi

Washington, Amerika Birleşik Devletleri

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Kontrol edildi: 7 gün önce
Bu durumun başlangıcı: 19 Ağu 2026
Kaynak: Müze

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Eser hakkında

An enlarged balcony makes the middle of M. C. Escher’s Balcony swell outwards, bending the houses around it. The 1945 lithograph is in Washington, at the National Gallery of Art. Flat roofs, small windows and arched entrances fill the town above the rocky waterside. The image measures 29.6 by 23.5 centimetres.

Ayrıntılar

Envanter numarası: 1974.28.19

Neyi konu alıyor

Water City Rock Building

Katalogda

Baskılar Litografi Savaş sonrası sanat 20. yüzyıl Dutch

Kaynaklar

Ulusal Sanat Galerisi
Görsel: Ulusal Sanat Galerisi — © the artist or rights holder

Maurits Cornelis Escher: hayatındaki yeri

Tüm yaşam öyküsü

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.
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.
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.

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