Maurits Cornelis EscherHollanda, 1898–1972

Three Spheres I

1945 · Print

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“Three Spheres I” 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: 4 gün önce
Bu durumun başlangıcı: 19 Ağu 2026
Kaynak: Müze

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Eser hakkında

Three Spheres I is a 1945 wood engraving by M. C. Escher, held in Washington by the National Gallery of Art. The geometric composition occupies a narrow upright rectangle, about thirty centimetres high and seventeen wide. This impression comes from the Rosenwald Collection, with the image surrounded by margins on a larger sheet.

Ayrıntılar

Envanter numarası: 1964.8.760

Neyi konu alıyor

Geometric

Katalogda

Baskılar Ahşap baskı 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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