Maurits Cornelis EscherHollanda, 1898–1972

Magic Mirror

1946 · Print

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“Magic Mirror” şu anda nerede? Koleksiyon: Ulusal Sanat Galerisi, Washington. Şu anda sergilenmiyor. Kontrol edildi 9 Kasım 2026.

Ulusal Sanat Galerisi

Washington, Amerika Birleşik Devletleri

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

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Eser hakkında

Magic Mirror, M. C. Escher’s lithograph of 1946, belongs to the National Gallery of Art in Washington. Winged creatures cross a chequered floor, appearing both as solid bodies casting shadows and as flat silhouettes. Geometric objects stand among them. This impression is numbered 8 of 36, with an image approximately 27.9 by 44.5 centimetres.

Ayrıntılar

Envanter numarası: 1974.28.22

Neyi konu alıyor

Mirror Geometric Monster

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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