M. C. Escher

Contents
M. C. Escher
1.1
Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2
Later life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.3
Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.4
Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.5
Selected works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.6
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.8
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.9
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Another World (M. C. Escher)
2.1
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.2
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ascending and Descending
3.1
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Atrani, Coast of Amal
4.1
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.2
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Belvedere (M. C. Escher)
10
5.1
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
5.2
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
The Bridge (M. C. Escher)
11
6.1
11
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Castrovalva (M. C. Escher)
12
7.1
In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
7.2
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
Circle Limit III
13
8.1
13
Inspiration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
i
ii
CONTENTS
8.2
Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
8.3
Symmetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
8.4
Printing details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
8.5
Exhibits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
8.6
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
8.7
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
Convex and Concave
16
9.1
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
9.2
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
10 Cube with Magic Ribbons

10.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11 Curl-up
17
17
18
11.1 Translation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
11.2 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
11.3 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
12 Dolphins (M. C. Escher)

12.1 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13 Drawing Hands
13.1 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14 Gravitation (M. C. Escher)
20
20
21
21
22
14.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
14.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
15 Hand with Reecting Sphere
23
15.1 Popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
15.2 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
15.3 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
16 House of Stairs
16.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17 Magic Mirror (M.C. Escher)
24
24
25
17.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
17.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
18 Metamorphosis I
26
18.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
18.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
19 Metamorphosis II
27
CONTENTS
iii
19.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
19.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
20 Metamorphosis III
28
20.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
28
20.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
28
20.3 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
28
21 Print Gallery (M. C. Escher)
29
21.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
21.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
22 Puddle (M. C. Escher)
30
22.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
22.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
23 Regular Division of the Plane
31
23.1 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
23.2 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
24 Relativity (M. C. Escher)
32
25 Reptiles (M. C. Escher)
33
25.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
25.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
25.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
26 Sky and Water I
34
26.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
26.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
27 Sky and Water II
35
27.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
27.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
28 Snakes (M. C. Escher)
36
28.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36
28.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36
28.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36
29 Stars (M. C. Escher)
37
29.1 Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
29.2 Inuences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
29.3 Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
29.4 Related works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
iv
CONTENTS
29.5 Collections and publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
29.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
30 Still Life and Street
39
30.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
30.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
30.3 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
31 Still Life with Mirror

31.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32 Still Life with Spherical Mirror
40
40
41
32.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
32.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
33 Three Spheres II
42
33.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
33.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
34 Three Worlds (M. C. Escher)
43
34.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
34.2 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
34.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
35 Tower of Babel (M. C. Escher)
44
35.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
35.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
35.3 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
36 Waterfall (M. C. Escher)
45
36.1 Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
36.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
36.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
36.4 Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . .
46
36.4.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
36.4.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
49
36.4.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
Chapter 1
M. C. Escher
man. In 1903, the family moved to Arnhem, where he
attended primary school and secondary school until 1918.
He was a sickly child, and was placed in a special school at
the age of seven and failed the second grade.[3] Although
he excelled at drawing, his grades were generally poor.
He also took carpentry and piano lessons until he was
thirteen years old. In 1919, Escher attended the Haarlem
School of Architecture and Decorative Arts in Haarlem.
He briey studied architecture, but he failed a number
of subjects (partly due to a persistent skin infection) and
switched to decorative arts.[3] He studied under Samuel
Jessurun de Mesquita, with whom he remained friends
for years. In 1922, Escher left the school after having
gained experience in drawing and making woodcuts.
1.2 Later life

In 1922, an important year of his life, Escher traveled through Italy (Florence, San Gimignano, Volterra,
Siena, Ravello) and Spain (Madrid, Toledo, Granada).
He was impressed by the Italian countryside and by
the Alhambra, a fourteenth-century Moorish castle in
Granada. The intricate decorative designs at Alhambra,
which were based on geometrical symmetries featuring
interlocking repetitive patterns sculpted into the stone
Escher (1971)
walls and ceilings, were a powerful inuence on Eschers
works.[4] He returned to Italy regularly in the following
Maurits Cornelis Escher (/r/, Dutch: [murts years.
krnels r] ( );[1] 17 June 1898 27 March 1972),
In Italy, Escher met Jetta Umiker, whom he married in
usually referred to as M. C. Escher, was a Dutch graphic
1924. The couple settled in Rome where their rst son,
artist. He is known for his often mathematically inspired
Giorgio (George) Arnaldo Escher, named after his grandwoodcuts, lithographs, and mezzotints. These feature
father, was born. Escher and Jetta later had two more
impossible constructions, explorations of innity, archisons: Arthur and Jan.[5]
tecture, and tessellations.
In 1935, the political climate in Italy (under Mussolini)
became unacceptable to Escher. He had no interest in
politics, nding it impossible to involve himself with any
1.1 Early life
ideals other than the expressions of his own concepts
through his own particular medium, but he was averse to
Maurits Cornelis[2] was born in Leeuwarden, Friesland, fanaticism and hypocrisy. When his eldest son, George,
in a house that forms part of the Princessehof Ceramics was forced at the age of nine to wear a Ballila uniform in
Museum today. He was the youngest son of civil engineer school, the family left Italy and moved to Chteau-d'x,
George Arnold Escher and his second wife, Sara Gleich- Switzerland, where they remained for two years.[6]
1
2
Escher, who had been very fond of and inspired by the
landscapes in Italy, was decidedly unhappy in Switzerland. In 1937, the family moved again, to Uccle, a suburb
of Brussels, Belgium. World War II forced them to move
in January 1941, this time to Baarn, Netherlands, where
Escher lived until 1970. Most of Eschers better-known
works date from this period. The sometimes cloudy, cold
and wet weather of the Netherlands allowed him to focus
intently on his work. For a time after undergoing surgery,
1962 was the only period in which Escher did not work
on new pieces.
CHAPTER 1. M. C. ESCHER
He worked primarily in the media of lithographs and
woodcuts, though the few mezzotints he made are considered to be masterpieces of the technique. In his
graphic art, he portrayed mathematical relationships
among shapes, gures and space. Additionally, he explored interlocking gures using black and white to enhance dierent dimensions. Integrated into his prints
were mirror images of cones, spheres, cubes, rings and
spirals. Escher was left-handed.[7]
Escher moved to the Rosa Spier Huis in Laren in 1970, an

artists retirement home in which he had his own studio.
He died at the home on 27 March 1972, aged 73.
1.3 Works
Relativity, 1953
Although Escher did not have mathematical training

his understanding of mathematics was largely visual and
intuitiveEschers work had a strong mathematical component, and more than a few of the worlds which he drew
were built around impossible objects such as the Necker
cube and the Penrose triangle. Many of Eschers works
employed repeated tilings called tessellations. Eschers
Drawing Hands, 1948
artwork is especially well liked by mathematicians and
scientists, who enjoy his use of polyhedra and geometric
In his early years, Escher sketched landscapes and nature. distortions. For example, in Gravity, multicolored turtles
He also sketched insects, which appeared frequently in poke their heads out of a stellated dodecahedron.
his later work. His rst artistic work, completed in 1922,
The mathematical inuence in his work emerged around
featured eight human heads divided in dierent planes.
Later around 1924, he lost interest in regular division 1936, when he journeyed to the Mediterranean with the
Adria Shipping Company. He became interested in order
of planes, and turned to sketching landscapes in Italy with
irregular perspectives that are impossible in natural form. and symmetry. Escher described his journey through the
Mediterranean as the richest source of inspiration I have
Eschers rst print of an impossible reality was Still Life ever tapped.
and Street, 1937. His artistic expression was created from
images in his mind, rather than directly from observations After his journey to the Alhambra, Escher tried to imand travels to other countries. Well known examples of prove upon the art works of the Moors using geometric
his work include Drawing Hands, a work in which two grids as the basis for his sketches, which he then overlaid
hands are shown, each drawing the other; Sky and Water, with additional designs, mainly animals such as birds and
in which light plays on shadow to morph the water back- lions.
ground behind sh gures into bird gures on a sky back- His rst study of mathematics, which later led to its inground; and Ascending and Descending, in which lines of corporation into his art works, began with George Plya's
people ascend and descend stairs in an innite loop, on academic paper on plane symmetry groups sent to him
a construction which is impossible to build and possible by his brother Berend. This paper inspired him to learn
to draw only by taking advantage of quirks of perception the concept of the 17 wallpaper groups (plane symmetry
and perspective.
groups). Using this mathematical concept, Escher cre-
1.3. WORKS
ated periodic tilings with 43 colored drawings of dierent types of symmetry. From this point on he developed
a mathematical approach to expressions of symmetry in
his art works. Starting in 1937, he created woodcuts using the concept of the 17 plane symmetry groups.
3
division of a plane, which he applied in over 150 colored
works. Other mathematical principles evidenced in his
works include the superposition of a hyperbolic plane on a
xed 2-dimensional plane, and the incorporation of threedimensional objects such as spheres, columns and cubes
into his works. For example, in a print called "Reptiles",
he combined two and three-dimensional images. In one
of his papers, Escher emphasized the importance of dimensionality and described himself as irritated by at
shapes: I make them come out of the plane.
Circle Limit III, 1959
In 1941, Escher summarized his ndings in a sketchbook,

which he labeled Regelmatige vlakverdeling in asymmetrische congruente veelhoeken (Regular division of the
plane with asymmetric congruent polygons).[8] His intention in writing this was to aid himself in integrating
mathematics into art. Escher is considered a research
mathematician of his time because of his documentation
with this paper, in which he studied color based division, Waterfall, 1961
and developed a system of categorizing combinations of
shape, color and symmetrical properties.
Around 1956, Escher explored the concept of representing innity on a two-dimensional plane. Discussions with
Canadian mathematician H.S.M. Coxeter inspired Eschers interest in hyperbolic tessellations, which are regular tilings of the hyperbolic plane. Eschers wood engravings Circle Limit IIV demonstrate this concept. In 1959,
Coxeter published his nding that these works were extraordinarily accurate: Escher got it absolutely right to
the millimeter.
Escher was awarded the Knighthood of the Order of Orange Nassau in 1955. Subsequently he regularly designed
art for dignitaries around the world.
In 1958, he published a book entitled Regular Division
of the Plane, with reproductions of a series of woodcuts
based on tessellations of the plane, in which he described
the systematic buildup of mathematical designs in his artworks. He emphasized, "Mathematicians have opened
the gate leading to an extensive domain.
Sculpture of the small stellated dodecahedron that appears in Eschers Gravitation. It can be found in front of the Mesa+" building on the Campus of the University of Twente.
Escher also studied topology. He learned additional concepts in mathematics from the British mathematician
Overall, his early love of Roman and Italian landscapes Roger Penrose. From this knowledge he created Waterand of nature led to his interest in the concept of regular fall and Up and Down, featuring irregular perspectives
similar to the concept of the Mbius strip.
works. In 1980, this holding was sold to an American art

Escher printed Metamorphosis I in 1937, which was a be- dealer and the Hague Museum. The Museum obtained
ginning part of a series of designs that told a story through all of the documentation and the smaller portion of the
the use of pictures. These works demonstrated a culmi- art works.
nation of Eschers skills to incorporate mathematics into The copyrights remained the possession of the three sons
art. In Metamorphosis I, he transformed convex polygons who later sold them to Cordon Art, a Dutch company.
into regular patterns in a plane to form a human motif. Control of the copyrights was subsequently transferred to
This eect symbolizes his change of interest from land- The M.C. Escher Company B.V. of Baarn, Netherlands,
scape and nature to regular division of a plane.
which licenses use of the copyrights on all of Eschers art
His piece Metamorphosis III is wide enough to cover all and on his spoken and written text.
the walls in a room, and then loop back onto itself.
A related entity, the M.C. Escher Foundation of Baarn,

After 1953, Escher became a lecturer at many organiza- promotes Eschers work by organizing exhibitions, pubtions. A planned series of lectures in North America in lishing books and producing lms about his life and work.
1962 was cancelled due to an illness, but the illustrations The primary institutional collections of original works
and text for the lectures, written out in full by Escher, by M.C. Escher are the Escher Museum, a subsidiary of
were later published as part of the book Escher on Es- the Haags Gemeentemuseum in The Hague; the National
cher. In July 1969 he nished his last work, a woodcut Gallery of Art (Washington, DC); the National Gallery of
called Snakes, in which snakes wind through a pattern of Canada (Ottawa); the Israel Museum (Jerusalem); Huis
linked rings which fade to innity toward both the center ten Bosch (Nagasaki, Japan); and the Boston Public Liand the edge of a circle.
brary.
1.4 Legacy
Gdel, Escher, Bach by Douglas Hofstadter,[9] published

in 1979, discusses the ideas of self-reference and strange
loops, drawing on a wide range of artistic and scientic
work, including the art of M. C. Escher and the music of
J. S. Bach, to illustrate ideas behind Gdels incompleteness theorems.
1.5 Selected works

Trees, ink (1920)
St. Bavos, Haarlem, ink (1920)
Flor de Pascua (The Easter Flower), woodcut/book
illustrations (1921)
Eight Heads, woodcut (1922)
The Escher Museum in The Hague
Dolphins also known as Dolphins in Phosphorescent

Sea, woodcut (1923)
See also: M. C. Escher in popular culture
Tower of Babel, woodcut (1928)
The special way of thinking and the rich graphic work

of M.C. Escher has had a continuous inuence in science
and art, as well as being referenced in popular culture.
Ownership of the Escher intellectual property and of his
unique art works have been separated from each other.
In 1969, Eschers business advisor, Jan W. Vermeulen,
author of a biography in Dutch on the artist, established
the M.C. Escher Stichting (M.C. Escher Foundation), and
transferred into this entity virtually all of Eschers unique
work as well as hundreds of his original prints. These
works were lent by the Foundation to the Hague Museum.
Upon Eschers death, his three sons dissolved the Foundation, and they became partners in the ownership of the art
Street in Scanno, Abruzzi, lithograph (1930)

Castrovalva, lithograph (1930)
The Bridge, lithograph (1930)
Palizzi, Calabria, woodcut (1930)
Pentedattilo, Calabria, lithograph (1930)
Atrani, Coast of Amal, lithograph (1931)
Ravello and the Coast of Amal, lithograph (1931)
Covered Alley in Atrani, Coast of Amal, wood engraving (1931)
1.6. SEE ALSO
Phosphorescent Sea, lithograph (1933)
Order and Chaos (Contrast), lithograph (1950)
Still Life with Spherical Mirror, lithograph (1934)
Rippled Surface, woodcut and linoleum cut (1950)
Hand with Reecting Sphere also known as SelfPortrait in Spherical Mirror, lithograph (1935)
Curl-up, lithograph (1951)
Inside St. Peters, wood engraving (1935)
House of Stairs, lithograph (1951)
Portrait of G.A. Escher, lithograph (1935)
House of Stairs II, lithograph (1951)
Hell, lithograph, (copied from a painting by

Hieronymus Bosch) (1935)
Puddle, woodcut (1952)
Regular Division of the Plane, series of drawings that

continued until the 1960s (1936)
Gravitation, (1952)
Dragon, woodcut lithograph and watercolor (1952)
Still Life and Street (his rst impossible reality),

woodcut (1937)
Cubic Space Division, lithograph (1952)
Metamorphosis I, woodcut (1937)
Relativity, lithograph (1953)
Day and Night, woodcut (1938)
Tetrahedral Planetoid, woodcut (1954)
Cycle, lithograph (1938)
Compass Rose (Order and Chaos II), lithograph

(1955)
Sky and Water I, woodcut (1938)

Sky and Water II, lithograph (1938)
Convex and Concave, lithograph (1955)
Metamorphosis II, woodcut (19391940)
Three Worlds, lithograph (1955)
Verbum (Earth, Sky and Water), lithograph (1942)
Print Gallery, lithograph (1956)
Reptiles, lithograph (1943)
Mosaic II, lithograph (1957)
Ant, lithograph (1943)

Encounter, lithograph (1944)
Doric Columns, wood engraving (1945)
Three Spheres I, wood engraving (1945)
Cube with Magic Ribbons, lithograph (1957)

Belvedere, lithograph (1958)
Sphere Spirals, woodcut (1958)
Magic Mirror, lithograph (1946)
Circle Limit III, woodcut (1959)
Three Spheres II, lithograph (1946)
Ascending and Descending, lithograph (1960)
Another World Mezzotint also known as Other World

Gallery, mezzotint (1946)
Waterfall, lithograph (1961)
Eye, mezzotint (1946)

Another World also known as Other World, wood engraving and woodcut (1947)
Crystal, mezzotint (1947)
Up and Down also known as High and Low, lithograph (1947)
Drawing Hands, lithograph (1948)
Dewdrop, mezzotint (1948)
Mbius Strip II (Red Ants) woodcut (1963)

Knot, pencil and crayon (1966)
Metamorphosis III, woodcut (19671968)
Snakes, woodcut (1969)
1.6 See also
Stars, wood engraving (1948)
Asteroid 4444 Escher was named in Eschers honor

in 1985.
Double Planetoid, wood engraving (1949)
Mathematics and art#M.C. Escher
1.7 References
[1] Duden Aussprachewrterbuch (6 ed.). Mannheim: Bibliographisches Institut & F.A. Brockhaus AG. 2005. ISBN
3-411-04066-1.
[2] We named him Maurits Cornelis after S.'s [Saras]
beloved uncle Van Hall, and called him 'Mauk' for short
...., Diary of Eschers father, quoted in M. C. Escher: His
Life and Complete Graphic Work, Abradale Press, 1981,
p. 9.
[3] Barbara E, PhD. Bryden. Sundial: Theoretical Relationships Between Psychological Type, Talent, And Disease.
Gainesville, Fla: Center for Applications of Psychological Type. ISBN 0-935652-46-9.
[4] Roza, Greg (2005). An Optical Artist: Exploring Patterns
and Symmetry. Rosen Classroom. p. 20. ISBN 978-14042-5117-5.
[5] ESCHER. Geom.uiuc.edu. Retrieved 7 December
2013.
[6] Ernst, Bruno, The Magic Mirror of M.C. Escher, Taschen,
1978; p. 15
Schattschneider, Doris & Walker, Wallace. (1987)

M. C. Escher Kaleidocycles, Petaluma, California,
Pomegranate Communications ISBN 0-906212-286.
Schattschneider, Doris (2004). M. C. Escher : Visions of Symmetry, New York, N.Y. : Harry N.
Abrams, 2004. ISBN 0-8109-4308-5.
Schattschneider, Doris & Emmer, Michele, eds
(2003). M. C. Eschers Legacy: a Centennial Celebration; collection of articles coming from the M.
C. Escher Centennial Conference, Rome, 1998 /
Berlin; London: Springer-Verlag. ISBN 3-54042458-X (hbk).
Escher, M. C. in: The World Book Encyclopedia;
10th ed. 2001.
Media
M. C. Escher, The Fantastic World of M. C. Escher,
Video collection of examples of the development of
his art, and interviews, Director, Michele Emmer.
[7] The Ocial M.C. Escher Website Biography.

Mcescher.com. Retrieved 7 December 2013.
[8] Barry Cipra (1998). Paul Zorn, ed. Whats Happening in
the Mathematical Sciences, Volume 4. American Mathematical Society. p. 103. ISBN 0-8218-0766-8.
[9] Hofstadter, Douglas R. (1999) [1979], Gdel, Escher,
Bach: An Eternal Golden Braid, Basic Books, ISBN 0465-02656-7
1.9 External links

M.C. Escher ocial website.
Math and the Art of M.C. Escher. USA: SLU.
Artful Mathematics: The Heritage of M. C. Escher.
USA: AMS.
1.8 Further reading
Escherization problem and its solution. CA: University of Waterloo.
Books
Escher for Real. IL: Technion. physical replicas of some of Eschers impossible designs
Abrams (1995). The M. C. Escher Sticker Book.

Harry N. Abrams. ISBN 0-8109-2638-5 .
Ernst, Bruno; Escher, M. C. (1995). The Magic
Mirror of M. C. Escher (Taschen Series). Taschen
America LLC. ISBN 1-886155-00-3 Eschers art
with commentary by Ernst on Eschers life and art,
including several pages on his use of polyhedra.
Escher, M. C. (1971) The Graphic Work of M. C.
Escher, Ballantine. Includes Eschers own commentary.
Locher, J. L. (2000). The Magic of M. C. Escher.
Harry N. Abrams, Inc. ISBN 0-8109-6720-0.
Locher, J. L., ed. (1981) M. C. Escher: His Life and
Complete Graphic Work, Amsterdam
O'Connor, J. J. (17 June 2005) Escher. University
of St Andrews, Scotland.
M.C. Escher: Life and Work. USA: NGA.

US Copyright Protection for UK Artists. UK.
Copyright issue regarding Escher from the Artquest
Artlaw archive.
Schattschneider, Doris (JuneJuly 2010). The
Mathematical Side of M. C. Escher (PDF). Notices
of the American Mathematical Society (USA) 57 (6):
70618. Retrieved 9 July 2010.
Gallery of tessellations by M.C. Escher
Chapter 2
Another World (M. C. Escher)

Another World, also known as Other World, is a woodcut
print by the Dutch artist M. C. Escher rst printed in January 1947.
It depicts a cubic architectural structure made from brick.
The structure is a paradox with an open archway on each
of the ve visible sides of the cube. The structure wraps
around the vertical axis to enclose the viewers perspective. At the bottom of the image is an archway which
we seem to be looking up from the base, and through it
we can see space. At the top of that arch is another arch
which is level with our perspective, and through it we are
looking out over a lunar horizon. At the top of that arch
is another arch which covers the top of the image. We
are looking down at this arch from above and through it
onto the lunar surface.
Standing in each archway along the vertical axis is a metal
sculpture of a bird with a humanoid face. In each side
archway is a horn or cornucopia hanging on chains. It
is interesting to note that the views from above and below are consistent, placing the statue so that it faces the
horn, however the horizontal view reverses the relative
positions of the statue and the horn, and rotates the horn
180 degrees.
The previous month (December 1946), Escher created a
mezzotint called Another World (Other World Gallery).
The image in that print is the same as this one except that
the arches continue on as an innite corridor.
The bird/human sculpture is a real sculpture which was
given to Escher by his father-in-law. This sculpture rst
appears in Eschers 1934 lithograph Still Life with Spherical Mirror.
2.1 Sources
2.2 External links

Other versions of Another World
Chapter 3
Ascending and Descending

Ascending and Descending is a lithograph print by the Two earlier Escher pictures that feature stairs are House
Dutch artist M. C. Escher rst printed in March 1960.
of Stairs and Relativity.
The original print measures 14 in 11 1 4 in (35.6 cm
28.6 cm). The lithograph depicts a large building roofed
by a never-ending staircase. Two lines of identically
dressed men appear on the staircase, one line ascending
while the other descends. Two gures sit apart from the
people on the endless staircase: one in a secluded courtyard, the other on a lower set of stairs. While most twodimensional artists use relative proportions to create an
illusion of depth, Escher here and elsewhere uses conicting proportions to create the visual paradox.
3.1 Sources
Ascending and Descending was inuenced by, and is

an artistic implementation of, the Penrose stairs, an
impossible object; Lionel Penrose had rst published his
concept in the February 1958 issue of the British Journal
of Psychology. Escher developed the theme further in his
print Waterfall, which appeared in 1961.
The two concentric processions on the stairs use enough
people to emphasise the lack of vertical rise and fall. In
addition, the shortness of the tunics worn by the people
makes it clear that some are stepping up and some are
stepping down.
The structure is embedded in human activity. By showing an unaccountable ritual of what Escher calls an 'unknown' sect, Escher has added an air of mystery to the
people who ascend and descend the stairs. Therefore, the
stairs themselves tend to become incorporated into that
mysterious appearance.
There are 'free' people and Escher said of these: 'recalcitrant individuals refuse, for the time being, to take part in
the exercise of treading the stairs. They have no use for
it at all, but no doubt, sooner or later they will be brought
to see the error of their non-conformity.'
Escher suggests that not only the labours, but the very
lives of these monk-like people are carried out in an inescapable, coercive and bizarre environment. Another
possible source for the peoples looks is the Dutch idiom a monks job, which refers to a long and repetitive
working activity with absolutely no practical purposes or
results, and, by extension, to something completely useless.
Chapter 4
Atrani in 2003.
Atrani, Coast of Amal is a lithograph print by the Dutch

artist M. C. Escher, rst printed in August 1931. Atrani
is a small town and commune on the Amal Coast in
the province of Salerno in the Campania region of southwestern Italy. Atrani is the second smallest town in Italy
and was built right at the edge of the sea. This image of
Atrani recurs several times in Eschers work, most notably
in his series of Metamorphosis prints: Metamorphosis I, II
and III.
4.1 See also

Printmaking
4.2 Sources
Locher, J.L. (2000). The Magic of M. C. Escher.
Chapter 5
Belvedere (M. C. Escher)

Necker cube
Belvedere is a lithograph print by the Dutch artist M. C.

Escher, rst printed in May 1958. It shows a plausiblelooking building that is actually an impossible object.
In this print, Escher uses two-dimensional images to depict objects free of the connes of the three-dimensional
world. The image is of a rectangular three-story building. The upper two oors are open at the sides with the
top oor and roof supported by pillars. From the viewers
perspective, all the pillars on the middle oor are the same
size at both the front and back, but the pillars at the back
are set higher. The viewer also sees by the corners of the
top oor that it is at a dierent angle than the rest of the
structure. All these elements make it possible for all the
pillars on the middle oor to stand at right angles, yet the
pillars at the front support the back side of the top oor
while the pillars at the back support the front side. This
paradox also allows a ladder to extend from the inside of
the middle oor to the outside of the top oor.
M. C. Eschers Waterfall
5.2 Sources
There is a man seated at the foot of the building holding

an impossible cube. He appears to be constructing it from
a diagram of a Necker cube at his feet with the intersecting lines circled. The window next to him is closed with
an iron grille that is geometrically valid but practically
impossible to assemble.
The woman who is about to climb the steps of the building is modeled after a gure from the right panel of
Hieronymus Bosch's 1500 triptych The Garden of Earthly
Delights. This panel is individually titled Hell. A portion
of Hell had earlier been recreated by Escher as a lithograph in 1935.
The ridge in the background is part of Morrone Mountains in Abruzzo, that Escher had visited several times
when living in Italy during the 1920s and 30s.
5.1 See also

Belvedere (structure)
Lithography
Paradox
Printmaking
10
Eschers Belvedere
Chapter 6
The Bridge (M. C. Escher)

The Bridge is a lithograph print by the Dutch artist M. C.
Escher, rst printed in March 1930.
It depicts a bridge connecting two sheer clis. On the top
of the left hand cli is a city. The chasm between the two
clis is narrow but plummets out of view. In the distance
is another outcrop with a city built on top. Both the rock
and the architecture on this third outcrop are darker in
colouration than in the foreground. The buildings appear
to be modelled partly after southern Italian architecture.
The rock is in blocky formations that appeared often during Eschers Italian period and it is possible that the village seen is Assisi.
6.1 Sources
11
Chapter 7
Castrovalva (M. C. Escher)

Castrovalva is a lithograph print by the Dutch artist M.
C. Escher, rst printed in February 1930. Like many of
Eschers early works, it depicts a place that he visited on
a tour of Italy.
It depicts the Abruzzo village of Castrovalva, which lies
at the top of a sheer slope. The perspective is toward the
northwest, from the narrow trail on the left which, at the
point from which this view is seen, makes a hairpin turn
to the right, descending to the valley. In the foreground
at the side of the trail, there are several owering plants,
grasses, ferns, a beetle and a snail. In the expansive valley
below there are cultivated elds and two more towns, the
nearest of which is Anversa degli Abruzzi, with Casale in
the distance.
7.1 In popular culture

In 1982 the name Castrovalva was used in a story
in the BBC television series Doctor Who. The storyline also relied heavily on recursion, a favorite theme
in Eschers later and more famous works, and used
ideas taken from Belvedere, Ascending and Descending, and Relativity to trap the protagonists in the city
of Castrovalva.
The comic Kingdom of the Wicked is set in an imaginary world named Castrovalva.
7.2 Sources
12
Chapter 8
Circle Limit III
The (6,4,2) triangular hyperbolic tiling that inspired Escher
Circle Limit III, 1959
Circle Limit III is a woodcut made in 1959 by Dutch

and fundamental doartist M. C. Escher, in which strings of sh shoot up like as depicting the lines of reection [5]
mains
of
the
(6,4,2)
triangle
group.
rockets from innitely far away and then fall back again
whence they came.[1]
It is one of a series of four woodcuts by Escher depicting ideas from hyperbolic geometry. Dutch physicist 8.2 Geometry
and mathematician Bruno Ernst called it the best of the
four.[2]
Escher seems to have believed that the white curves of his
woodcut, which bisect the sh, represent hyperbolic lines
in the Poincar disk model of the hyperbolic plane, in
which the whole hyperbolic plane is modeled as a disk in
8.1 Inspiration
the Euclidean plane, and hyperbolic lines are modeled as
Escher became interested in tesselations of the plane af- circular arcs perpendicular to the disk boundary. Indeed,
that the sh move perpendicularly to the
ter a 1936 visit to the Alhambra in Granada, Spain,[3][4] Escher wrote
[1]
However,
as Coxeter demonstrated, there is
boundary.
and from the time of his 1937 artwork Metamorphosis I
no
hyperbolic
arrangement
of lines whose faces are alterhe had begun incorporating tessellated human and animal
nately
squares
and
equilateral
triangles, as the gure de[4]
gures into his artworks. In a 1958 letter from Escher
picts.
Rather,
the
white
curves
are hypercycles that meet
to H. S. M. Coxeter, Escher wrote that he was inspired
the
boundary
circle
at
angles
of
cos1 ((21/4 21/4 )/2),
to make his Circle Limit series by a gure in Coxeters
[2]
article Crystal Symmetry and its Generalizations.[2][3] approximately 80.
Coxeters gure depicts a tessellation of the hyperbolic
plane by right triangles with angles of 30, 45, and 90
(a shape that is possible in hyperbolic geometry but not in
Euclidean geometry); this tessellation may be interpreted
The symmetry axes of the triangles and squares that lie

between the white lines are true hyperbolic lines. The
squares and triangles of the woodcut have the same incidence pattern as the faces of the tritetragonal tiling of
13
14
CHAPTER 8. CIRCLE LIMIT III
8.4 Printing details

The sh in Circle Limit III are depicted in four colors,
allowing each string of sh to have a single color and each
two adjacent sh to have dierent colors. Together with
the black ink used to outline the sh, the overall woodcut
has ve colors. It is printed from ve wood blocks, each
of which provides one of the colors within a quarter of
the disk, for a total of 20 impressions. The diameter of
the outer circle, as printed, is 41.5cm.[10]
8.5 Exhibits
As well as being included in the collection of the Escher
Museum in The Hague, there is a copy of Circle Limit III
in the collection of the National Gallery of Canada.[11]
The tritetragonal tiling, a hyperbolic tiling of squares and equilateral triangles, overlaid on Eschers image
the hyperbolic plane, but their geometry is not the same:

in the tritetragonal tiling, the sides of the squares and triangles are hyperbolically straight line segments, while in
Eschers woodcut they are arcs of hypercycles, so that the
smooth curves of Escher correspond to polygonal chains
with corners in the tritetragonal tiling. The points at
the centers of the quadrilaterals, where four sh meet
at their ns, form the vertices of an order-8 triangular
tiling, while the points where three sh ns meet and the
points where three white lines cross together form the
vertices of its dual, the octagonal tiling.[2] Similar tessellations by lines of sh may be constructed for other hyperbolic tilings formed by polygons other than triangles
and squares, or with more than three white curves at each
crossing.[6]
Euclidean coordinates of circles containing the three most
prominent white curves in the woodcut may be obtained
by calculations in the eld of rational numbers extended
by the square roots of two and three.[7]
8.3 Symmetry
Viewed as a pattern, ignoring the colors of the sh, in the
hyperbolic plane, the woodcut has three-fold and fourfold rotational symmetry at the centers of its triangles and
squares, respectively, and order-three dihedral symmetry (the symmetry of an equilateral triangle) at the points
where the white curves cross. In John Conway's orbifold
notation, this set of symmetries is denoted 433. Each sh
provides a fundamental region for this symmetry group.
Contrary to appearances, the sh do not have bilateral
symmetry: the white curves of the drawing are not axes
of reection symmetry.[8][9]
8.6 References
[1] Escher, as quoted by Coxeter (1979).
[2] Coxeter, H. S. M. (1979), The non-Euclidean symmetry
of Eschers picture 'Circle Limit III'", Leonardo 12: 19
25, JSTOR 1574078.
[3] Emmer, Michele (2006), Escher, Coxeter and
symmetry, International Journal of Geometric
Methods in Modern Physics 3 (5-6):
869879,
doi:10.1142/S0219887806001594, MR 2264394.
[4] Schattschneider, Doris (2010), The mathematical side of
M. C. Escher, Notices of the AMS 57 (6): 706718.
[5] An elementary analysis of Coxeters gure, as Escher
might have understood it, is given by Casselman, Bill
(June 2010), How did Escher do it?, AMS Feature Column. Coxeter expanded on the mathematics of triangle group tessellations, including this one in Coxeter, H.
S. M. (1997), The trigonometry of hyperbolic tessellations, Canadian Mathematical Bulletin 40 (2): 158168,
doi:10.4153/CMB-1997-019-0, MR 1451269.
[6] Dunham, Douglas, More Circle Limit III patterns,
The Bridges Conference: Mathematical Connections in Art,
Music, and Science, London, 2006.
[7] Coxeter, H. S. M. (2003), The trigonometry of Eschers
woodcut Circle Limit III", M.C.Eschers Legacy: A Centennial Celebration, Springer, pp. 297304, doi:10.1007/3540-28849-X_29.
[8] Conway, J. H. (1992), The orbifold notation for surface
groups, Groups, Combinatorics & Geometry (Durham,
1990), London Math. Soc. Lecture Note Ser. 165,
Cambridge: Cambridge Univ. Press, pp. 438447,
doi:10.1017/CBO9780511629259.038, MR 1200280.
Conway wrote that The work Circle Limit III is equally
intriguing (in comparison to Circle Limit IV, which has a
dierent symmetry group), and uses is it as an example of
this symmetry group.
8.7. EXTERNAL LINKS
[9] Herford, Peter (1999), The geometry of M. C. Eschers

circle-Limit-Woodcuts, Zentralblatt f Didaktik der
Mathematik 31 (5): 144148, doi:10.1007/BF02659805.
Paper presented to the 8th International Conference on
Geometry, Nahsholim (Israel), March 714, 1999.
[10] Escher, M. C. (2001), M. C. Escher: The Graphic Work,
Taschen, p. 10.
[11] Circle Limit III, National Gallery of Canada, retrieved
2013-07-09.
8.7 External links

Douglas Dunham Department of Computer Science
University of Minnesota, Duluth
Examples Based on Circle Limits III and
IV, 2006:More Circle Limit III Patterns,
2007:A Circle Limit III Calculation
15
Chapter 9
Convex and Concave

Convex and Concave is a lithograph print by the Dutch
artist M. C. Escher, rst printed in March 1955.
It depicts an ornate architectural structure with many
stairs, pillars and other shapes. The relative aspects of
the objects in the image are distorted in such a way that
many of the structures features can be seen as both convex shapes and concave impressions. This is a very good
example of Eschers mastery in creating illusion of Impossible Architectures. The windows, roads, stairs and
other shapes can be perceived as opening out in seemingly impossible ways and positions. Even the image on
the ag is of reversible cubes. One can view these features
as concave by viewing the image upside-down.
Note that all additional elements and decoration on the
left are consistent with a viewpoint from above, while
those on the right with a viewpoint from below: hiding
half the image makes it very easy to switch between convex and concave.
9.1 See also

Printmaking
9.2 Sources
16
Chapter 10
Cube with Magic Ribbons

Cube with Magic Ribbons is a lithograph print by the
Dutch artist M. C. Escher rst printed in 1957. It depicts two interlocking bands wrapped around the frame
of a cube. The cube framework by itself is perfectly possible but the interlocking of the magical bands within it
is impossible. This print is signicant for being the rst
Escher drawing to use a true impossible object.
10.1 References
Ernst, Bruno (2006), Optical Illusions, Impossible
Worlds: 2 in 1 Adventures with Impossible Objects,
Cologne: Taschen, ISBN 3-8228-5410-7
17
Chapter 11
Curl-up
This article is about the lithograph print.
exercise, see Crunch (exercise).
For the
(spontaneous generation), because of the absence, in nature, of wheel shaped, living creatures with the ability to roll themselves forward.
The accompanying 'beastie' depiction, referred
to as 'revolving bitch' or 'roll paunch' in laymens terms, subsequently anticipates the need
with sensitivity. Biological details are still few:
is it a mammal, a reptile, or an insect? It has
a long, drawn-out, horned, sectioned body and
three sets of legs; the ends of which look like
the human foot. In the middle of the fat, round
head, that is provided with a strong, bent parrots beak; they have bulb-shaped eyes, which,
placed on posts, protrude far out from both sides
of the head. In the stretched out position, the animal can, slow and cautiously, with the use of
his six legs, move forward over a variety of terrains (it can potentially climb or descend steep
stairs, plow through bushes, or scramble over
boulders). However, when it must cover a great
distance, and has a relatively at path to his disposal, he pushes his head to the ground and rolls
himself up with lightning speed, at which time he
pushes himself o with his legs- for as much as
they can still touch the ground. In the rolled up
state it exhibits the form of a discus, of which the
eye posts are the central axle. By pushing o alternately with one of his three pairs of legs, he
can achieve great speeds. It is also sometimes
desirable during the rolling (i.e. The descent of
an incline, or coasting to a nish) to hold up
the legs and 'freewheel' forward. Whenever it
wants, it can return again to the walking position
in two ways: rst abruptly, by suddenly extending his body, but then its lying on his back with
his legs in the air, and second through gradual
deceleration (braking with his feet) and slowly
unrolling backwards in standing position.
Curl-up or Wentelteefje (original Dutch title) is a

lithograph print by M. C. Escher, rst printed in November 1951.
This is the only work by Escher consisting largely of text.
The text, which is written in Dutch, describes an imaginary species called Pedalternorotandomovens centroculatus articulosus, also known as wentelteefje or rolpens.
He says this creature came into existence because of the
absence in nature of wheel shaped, living creatures with
the ability to roll themselves forward.
The creature is elongated and armored with several
keratinized joints. It has six legs, each with what appears to be a human foot. It has a disc-shaped head with
a parrot-like beak and eyes on stalks on either side.
It can either crawl over a variety of terrain with its six legs
or press its beak to the ground and roll into a wheel shape.
It can then roll, gaining acceleration by pushing with its
legs. On slopes it can tuck its legs in and roll freely. This
rolling can end in one of two ways; by abruptly unrolling
in motion, which leaves the creature belly-up, or by braking to a stop with its legs and slowly unrolling backwards.
The word wentelteefje is Dutch for French toast, wentel meaning to turn over. Rolpens is a dish made with
chopped meat wrapped in a roll and then fried or baked.
Een pens means belly, often used in the phrase beerbelly.
There is a diagonal gap through the text containing an illustration showing the step by step process of the creature
rolling into a wheel. This creature appears in two more
prints completed later the same month, House of Stairs
and House of Stairs II.
11.1 Translation
The translation of the surrounding text is as follows:
11.2 See also

Printmaking
The Pedalternorotandomovens Centroculatus Articulosus (curl-up) came into existence
Rotating locomotion in living systems

18
11.3. SOURCES
11.3 Sources
19
Chapter 12
Dolphins (M. C. Escher)

Dolphins also known as a Dolphins in Phosphorescent
Sea is a woodcut print by the Dutch artist M. C. Escher. This work was rst printed in February, 1923. Escher had been fascinated by the glowing outlines of ocean
waves breaking at night and this image depicts the outlines made by a school of dolphins swimming and breaching ahead of the bow of a ship. The glow was created by
bioluminescent dinoagellates.
12.1 Sources
Lewis, J.L. (2002). The Magic of M. C. Escher.
20
Chapter 13
Drawing Hands
Drawing Hands is a lithograph by the Dutch artist M. C.
Escher rst printed in January 1948. It depicts a sheet
of paper out of which, from wrists that remain at on
the page, two hands rise, facing each other and in the
paradoxical act of drawing one another into existence.
Although Escher used paradoxes in his works often, this
is one of the most obvious examples.
It is referenced in the book Gdel, Escher, Bach, by
Douglas Hofstadter, who calls it an example of a strange
loop. It is also used in Structure and Interpretation of
Computer Programs by Harold Abelson and Gerald Jay
Sussman as an allegory for the eval and apply functions of
programming language interpreters in computer science,
which feed each other.
13.1 Sources
21
Chapter 14
Gravitation (M. C. Escher)

Gravitation (also known as Gravity) is a mixed media
work by the Dutch artist M. C. Escher completed in June
1952. It was rst printed as a black-and-white lithograph
and then coloured by hand in watercolour.
It depicts a nonconvex regular polyhedron known as the
small stellated dodecahedron. Each facet of the gure has
a trapezoidal doorway. Out of these doorways protrude
the heads and legs of twelve turtles without shells, who are
using the object as a common shell. The turtles are in six
coloured pairs (red, orange, yellow, magenta, green and
indigo) with each turtle directly opposite its counterpart.
14.1 See also

Printmaking
14.2 Sources
22
Chapter 15
Hand with Reecting Sphere

Hand with Reecting Sphere also known as Self-Portrait
in Spherical Mirror is a lithograph print by Dutch artist
M. C. Escher, rst printed in January 1935. The piece
depicts a hand holding a reective sphere. In the reection, most of the room around Escher can be seen, and
the hand holding the sphere is revealed to be Eschers.
Self-portraits in reective, spherical surfaces are common in Eschers work, and this image is the most prominent and famous example. In much of his self-portraiture
of this type, Escher is in the act of drawing the sphere,
whereas in this image he is seated and gazing into it. On
the walls there are several framed pictures, one of which
appears to be of an Indonesian shadow puppet.
15.1 Popular culture

Frank O'Connor, the manager of the Halo video game
series, made an illustration that references this work. It
appears in the Halo Graphic Novel.
In Disneys TRON: Legacy, Je Bridges Character, CLU,
is seen holding a reective apple in which he sees his own
reection. This may be in homage to Escher, as there are
two octahedra on a nearby shelf, and much of the digital
world is made up of tessellations, a subject largely focused
on by Escher.
15.2 See also

Still Life with Spherical Mirror
Three Spheres II
Lithography
15.3 Sources
23
Chapter 16
House of Stairs
For other works titled House of Stairs, see House of
Stairs (disambiguation).
House of Stairs is a lithograph print by the Dutch artist
M. C. Escher rst printed in November 1951. This print
measures 18" 9". It depicts the interior of a tall
structure crisscrossed with stairs and doorways.
A total of 46 "wentelteefje" (imaginary creatures created
by Escher) are crawling on the stairs. The wentelteefje
has a long, armored body with six legs, humanoid feet, a
parrot-like beak and eyes on stalks. Some are seen to roll
in through doors, wound in a wheel shape and then unroll
to crawl up the stairs, while others crawl down stairs and
wind up to roll out. The wentelteefje rst appeared earlier the same month in the lithograph Curl-up. Later that
month, House of Stairs was extended to a vertical length
of 55" in a print titled House of Stairs II by repeating
and mirroring some of the architecture and creatures.
16.1 References
24
Chapter 17
Magic Mirror (M.C. Escher)

This article is about the lithograph by M. C. Escher. For
other uses of Magic mirror, see Magic mirror.
Magic Mirror is a lithograph print by the Dutch artist M.
C. Escher rst printed in January, 1946.
It depicts a mirror standing vertically on wooden supports
on a tiled surface. The perspective is looking down at
an angle at the right hand side of the mirror. There is
a sphere at each side of the mirror. The main focus of
the image is a procession of small grin (winged lion)
sculptures that emerge from the surface of the mirror and
trail away from it in single le. Both the angular reection of the tiles and the oset between the reection of
the sphere in front of the mirror and the sphere behind it
prove it is a mirror. Yet the reection of the grin procession continues to emerge from behind the mirror. The
grin processions of both sides loop around to the front
and enter a tessellated pattern on the tile surface.
17.1 See also

Reptiles
Regular Division of the Plane
Printmaking
Paradox
17.2 Sources
25
Chapter 18
Metamorphosis I
Metamorphosis I is a woodcut print by the Dutch artist
M. C. Escher which was rst printed in May, 1937. This
piece measures 19.5 by 90.8 centimetres (7.7 in 35.7
in) and is printed on two sheets.
The concept of this work is to morph one image into
a tessellated pattern, then gradually to alter the outlines
of that pattern to become an altogether dierent image.
From left to right, the image begins with a depiction of
the coastal Italian town of Atrani (see Atrani, Coast of
Amal). The outlines of the architecture then morph to
a pattern of three-dimensional blocks. These blocks then
slowly become a tessellated pattern of cartoon-like gures
in oriental attire.
18.1 See also

Metamorphosis II
Metamorphosis III
Printmaking
18.2 Sources
26
Chapter 19
Metamorphosis II
Metamorphosis II is a woodcut print by the Dutch artist
M. C. Escher. It was created between November, 1939
and March, 1940. This print measures 19.2 by 389.5
centimetres (7.6 in 153.3 in) and was printed from 20
blocks on 3 combined sheets.
Like Metamorphosis I, the concept of this piece is to
morph one image into a tessellated pattern and then
slowly alter that pattern eventually to become a new image.
The process begins left to right with the word metamorphose (the Dutch form of the word metamorphosis) in
a black rectangle, followed by several smaller metamorphose rectangles forming a grid pattern. This grid then
becomes a black and white checkered pattern, which then
becomes tessellations of reptiles, a honeycomb, insects,
sh, birds and a pattern of three-dimensional blocks with
red tops.
These blocks then become the architecture of the Italian
coastal town of Atrani (see Atrani, Coast of Amal). In
this image Atrani is linked by a bridge to a tower in the
water, which is actually a rook piece from a chess set.
There are other chess pieces in the water and the water
becomes a chess board. The chess board leads to a checkered wall, which then returns to the word metamorphose.
19.1 See also

Metamorphosis I
Metamorphosis III
Tessellation
Printmaking
19.2 Sources
27
Chapter 20
Metamorphosis III
Metamorphosis III is a woodcut print by the Dutch artist
M. C. Escher created during 1967 and 1968. Measuring
19 cm 680 cm (7 268 inches - 22'4), this is Eschers
largest print. It was printed on thirty-three blocks on six
combined sheets and mounted on canvas. This print was
partly coloured by hand.
20.3 Sources
It begins identically to Metamorphosis II, with the

word metamorphose (the Dutch form of the word
metamorphosis) forming a grid pattern and then becoming a black-and-white checkered pattern. Then the rst
set of new imagery begins. The angles of the checkered
pattern change to elongated diamond shapes. These then
become an image of owers with bees. This image then
returns to the diamond pattern and back into the checkered pattern.
It then resumes with the Metamorphosis II imagery until the bird pattern. The birds then become sailing boats.
From the sailing boats the image changes to a second sh
pattern. Then from the sh to horses. The horses then become a second bird pattern. The second bird pattern then
becomes black-and-white triangles, which then become
envelopes with wings. These winged envelopes then return to the black-and-white triangles and then to the original bird pattern. It then resumes with the Metamorphosis
II print until its conclusion.
20.1 See also

Metamorphosis I
Metamorphosis II
Tessellation
Printmaking
20.2 External links

Images of Metamorphosis III and other well known
works at mcescher.com
28

Chapter 21
Print Gallery (M. C. Escher)

Print Gallery (Dutch: Prentententoonstelling) is a
lithograph printed in 1956 by the Dutch artist M. C. Escher. It depicts a man in a gallery viewing a print of a seaport, and among the buildings in the seaport is the very
gallery in which he is standing. In the book Gdel, Escher, Bach, Douglas Hofstadter explains it as a strange
loop showing three kinds of in-ness": the gallery is physically in the town (inclusion); the town is artistically in
the picture (depiction); the picture is mentally in the
person (representation).
21.2 External links
Eschers signature is on a circular void in the center of the

work. In 2003, two Dutch mathematicians, Bart de Smit
and Hendrik Lenstra, reported a way of lling in the void
by treating the work as drawn on an elliptic curve over
the eld of complex numbers. They deem an idealized
version of Print Gallery to contain a copy of itself, rotated clockwise by about 157.63 degrees and shrunk by a
factor of about 22.58.[1]
Print Gallery has been discussed in relation to postmodernism by a number of writers, including Silvio
Gaggi,[2] Barbara Freedman,[3] Stephen Bretzius,[4] and
Marie-Laure Ryan.[5]
21.1 References
[1] de Smit, B. (2003). The Mathematical Structure of Eschers Print Gallery. Notices of the American Mathematical Society 50 (4): 446451.
[2] Gaggi, Silvio (1989). Modern/Postmodern: A Study in
Twentieth-Century Arts and Ideas. University of Pennsulvania Press. pp. 4445. ISBN 0-8122-8154-3.
[3] Freedman, Barbara (1991). Staging the gaze: postmodernism, psychoanalysis, and Shakespearean comedy. Cornell University Press. pp. 124126. ISBN 0-8014-9737X.
[4] Bretzius, Stephen (1997). Shakespeare in theory: the postmodern academy and the early modern theater. University
of Michigan Press. p. 57. ISBN 0-472-10853-0.
[5] Ryan, Marie-Laure (2000). Narrative as virtual reality:
immersion and interactivity in literature and electronic media. Johns Hopkins University Press. p. 165. ISBN 08018-6487-9.
29
HarryCarry5 (Jul 26, 2009). Eschers Print Gallery

Explained. YouTube.
Artful Mathematics: The Heritage of M. C. Escher,
by Bart de Smit and Hendrik Lenstra
Chapter 22
Puddle (M. C. Escher)

Puddle is a woodcut print by the Dutch artist M. C. Escher, rst printed in February 1952.
Since 1936, Eschers work had become primarily focused
on paradoxes, tessellation and other abstract visual concepts. This print, however, is a realistic depiction of a
simple image that portrays two perspectives at once. It
depicts an unpaved road with a large pool of water in the
middle of it at twilight. Turning the print upside-down
and focusing strictly on the reection in the water, it becomes a depiction of a forest with a full moon overhead.
The road is soft and muddy and in it there are two distinctly dierent sets of tire tracks, two sets of footprints
going in opposite directions and two bicycle tracks. Escher has thus captured three elements: the water, sky and
earth.
22.1 See also

Three Worlds
Printmaking
22.2 Sources
30
Chapter 23

23.1 Sources
23.2 Further reading
Schattsneider, Doris (2004) M.C. Escher: Visions
of Symmetry Harry N. Abrams, Inc. ISBN 0-81094308-5.
Regular Division of the Plane III, woodcut, 1957 - 1958.
Regular Division of the Plane is a series of drawings

by the Dutch artist M. C. Escher which began in 1936.
These images are based on the principle of tessellation,
irregular shapes or combinations of shapes that interlock
completely to cover a surface or plane.
The inspiration for these works began in 1936 with a
visit to the Alhambra, a fourteenth-century Moorish castle near Granada, Spain. Escher had visited the Alhambra
once before in 1922 but in this visit he had spent several
days studying and sketching the ornate tile designs there.
In 1958 Escher published his book The Regular Division of the Plane. This book included several woodcut
prints to demonstrate the concept, but the series of drawings continued until the late 1960s, ending at drawing
#137. While not Eschers most artistically important
works, some of these patterns are among Eschers most
famous, having been used for a number of commercial
products, including neckties.
31
Chapter 24
Relativity (M. C. Escher)

Relativity is a lithograph print by the Dutch artist M. C.
Escher, rst printed in December 1953.
It depicts a world in which the normal laws of gravity do
not apply. The architectural structure seems to be the
centre of an idyllic community, with most of its inhabitants casually going about their ordinary business, such
as dining. There are windows and doorways leading to
park-like outdoor settings. All of the gures are dressed
in identical attire and have featureless bulb-shaped heads.
Identical characters such as these can be found in many
other Escher works.
In the world of Relativity, there are three sources of gravity, each being orthogonal to the two others. Each inhabitant lives in one of the gravity wells, where normal
physical laws apply. There are sixteen characters, spread
between each gravity source, six in one and ve each in
the other two. The apparent confusion of the lithograph
print comes from the fact that the three gravity sources
are depicted in the same space.
The structure has seven stairways, and each stairway can
be used by people who belong to two dierent gravity
sources. This creates interesting phenomena, such as in
the top stairway, where two inhabitants use the same stairway in the same direction and on the same side, but each
using a dierent face of each step; thus, one descends
the stairway as the other climbs it, even while moving in
the same direction nearly side-by-side. In the other stairways, inhabitants are depicted as climbing the stairways
upside-down, but based on their own gravity source, they
are climbing normally.
Each of the three parks belongs to one of the gravity wells.
All but one of the doors seem to lead to basements below
the parks. Though physically possible, such basements
are certainly unusual and add to the surreal eect of the
picture.
This is one of Eschers most popular works and has
been used in a variety of ways, as it can be appreciated
both artistically and scientically. Interrogations about
perspective and the representation of three-dimensional
images in a two-dimensional picture are at the core of Eschers work, and Relativity represents one of his greatest
achievements in this domain.
32
Chapter 25
Reptiles (M. C. Escher)

Reptiles is a lithograph print by the Dutch artist M. C.
Escher rst printed in March 1943.
It depicts a desk on which is a drawing of a tessellated
pattern of reptiles. The reptiles at one edge of the drawing come to life and crawl around the desk and over the
objects on it to eventually re-enter the drawing at its opposite edge. The desk is littered with ordinary objects, as
well as a metal dodecahedron that the reptiles climb over.
Although only the size of small lizards, these reptiles appear to have tusks and the one standing on the dodecahedron blows smoke from its nostrils.
Like many of Eschers works, this image was intended to
depict a paradoxical and slightly humorous concept with
no real philosophical meaning. There were, however,
many popular misconceptions about the images meaning. Once a woman telephoned Escher and told him
that she thought the image was a striking illustration of
reincarnation". The most common myth revolves around
a small book on the desk with the letters JOB printed on
it. Many people believed it to be the biblical Book of Job,
when in fact it was a book of JOB brand cigarette papers.
A colorized version of the lithograph was used by rock
band Mott the Hoople as the sleeve artwork for its
eponymous rst album, released in 1969.
25.1 See also

25.2 References
25.3 External links

Decoration with Escher Lizard by William Chow.
33
Chapter 26
Sky and Water I

Sky and Water I is a woodcut print by the Dutch artist
M. C. Escher rst printed in June 1938.
M. C. Escher29 Master Prints; Harry N. Abrams,

Inc., Publishers.
The basis of this print is a regular division of the

plane consisting of birds and sh. Both prints have
the horizontal series of these elementstting into each
other like the pieces of a jigsaw puzzlein the middle,
transitional portion of the prints. In this central layer the
pictorial elements are equal: birds and sh are alternately
foreground or background, depending on whether the eye
concentrates on light or dark elements. The birds take on
an increasing three-dimensionality in the upward direction, and the sh, in the downward direction. But as the
sh progress upward and the birds downward they gradually lose their shapes to become a uniform background
of sky and water, respectively.

According to Escher: In the horizontal center strip there

are birds and sh equivalent to each other. We associate
ying with sky, and so for each of the black birds the
sky in which it is ying is formed by the four white sh
which encircle it. Similarly swimming makes us think of
water, and therefore the four black birds that surround a
sh become the water in which it swims.
This print has been used in physics, geology, chemistry,
and in psychology for the study of visual perception. In
the pictures a number of visual elements unite into a
simple visual representation, but separately each forms
a point of departure for the elucidation of a theory in one
of these disciplines.
26.1 See also

Printmaking
Sky and Water II
Tessellation
26.2 Sources
M. C. EscherThe Graphic Work; BenediktTaschen Publishers.
34
Chapter 27
Sky and Water II

Sky and Water II is a lithograph print by the Dutch artist
M. C. Escher rst printed in 1938. It is similar to the
woodcut Sky and Water I, which was rst printed only
months earlier.
27.1 See also

Tessellation
Printmaking
27.2 Sources
M. C. EscherThe Graphic Work; BenediktTaschen Publishers.
M. C. Escher29 Master Prints; Harry N. Abrams,
Inc., Publishers.
35
Chapter 28
Snakes (M. C. Escher)

Snakes is a woodcut print by the Dutch artist M. C. Escher rst printed in July 1969.
It depicts a disc made up of interlocking circles that grow
progressively smaller towards the center and towards the
edge. There are three snakes laced through the edge of
the disc.
Snakes has rotational symmetry of order 3, comprising a
single wedge-shaped image repeated three times in a circle. This means that it was printed from three blocks that
were rotated on a pin to make three impressions each.
Close inspection reveals the central mark left by the pin.
The image is printed in three colours: green, brown and
black. In several earlier works Escher explored the limits
of innitesimal size and innite number, for example the
Circle Limit series, by actually carrying through the rendering of smaller and smaller gures to the smallest possible sizes. By contrast, in Snakes, the innite diminution
of size and innite increase in number is only suggested in the nished work. Nevertheless, the print shows
very clearly how this rendering would have been carried
out to the limits of human visibility.
This was Eschers last print.
28.1 See also

Printmaking
28.2 References
28.3 External links

A 3-dimensional animation based on Eschers print
A video of the artist making the print.
36
Chapter 29
Stars (M. C. Escher)

Stars is a wood engraving print by the Dutch artist
M. C. Escher rst printed in October 1948, depicting
two chameleons in a polyhedral cage oating through
space.[1][2]
29.1 Description
The print depicts a hollowed-out compound of three octahedra, a polyhedral compound composed of three regular
octahedra, oating in space. Numerous other polyhedra
and polyhedral compounds oat in the background; the
four largest are, on the upper left, the compound of cube
and octahedron; on the upper right, the stella octangula;
on the lower left, a compound of two cubes; and on the
lower right, a solid version of the same octahedron 3compound. The smaller polyhedra visible within the print
also include all of the ve Platonic solids and the rhombic
dodecahedron.[3][4]
Two chameleons are contained within the cage-like shape
of the central compound; Escher writes that they were
chosen as its inhabitants because they are able to cling by
their legs and tails to the beams of their cage as it swirls
through space.[5] The chameleon on the left sticks out his
tongue, perhaps in commentary; Coxeter observes that
the tongue has an unusual spiral-shaped tip.[4]
A rhombicuboctahedron drawn by Leonardo da Vinci in a similar style to Escher
Eschers interest in geometry is well known, but he was

also an avid amateur astronomer, and in the early 1940s
became a member of the Dutch Association for Meteorology and Astronomy. He owned a 6 cm refracting
Although most published copies of Stars are
telescope, and recorded several observations of binary
monochromatic, with white stars and chameleons
stars.[2]
on a black background, the copy in the National Gallery
of Canada is tinted in dierent shades of turquoise, The use of polyhedra to model heavenly bodies can be
traced back to Plato, who wrote in Timaeus that the
yellow, green, and pale pink.[6]
constellations were arranged in the form of a regular dodecahedron. Later, Johannes Kepler theorized that the
distribution of distances of the planets from the sun could
29.2 Inuences
be explained by the shapes of the ve Platonic solids. Escher, also, regularly depicted polyhedra in his artworks
The design for Stars was likely inuenced by Eschers own relating to astronomy and other worlds.[2]
interest in both geometry and astronomy, by a long history
of using geometric forms to model the heavens, and by Escher drew the octahedral compound of Stars in a
a drawing style used by Leonardo da Vinci. However, beveled wire-frame style that was previously used by
for Luca Pacioli's
although the polyhedral shape depicted in Stars had been Leonardo da Vinci in his illustrations
[4][3][7]
book,
De
divina
proportione.
studied before in mathematics, it was most likely invented
independently for this image by Escher without reference H. S. M. Coxeter reports that the shape of the central
chameleon cage in Stars had previously been described,
to those studies.
37
38
with a photograph of a model of the same shape, in 1900
by Max Brckner. However, Escher would not have been
aware of this reference and Coxeter writes that It is remarkable that Escher, without any knowledge of algebra
or analytic geometry, was able to rediscover this highly
symmetrical gure.[4]
CHAPTER 29. STARS (M. C. ESCHER)

As well as being exhibited in the Escher Museum, copies
of Stars are in the permanent collections of the Mildred
Lane Kemper Art Museum[13] and the National Gallery
of Canada.[6]
29.6 References
29.3 Analysis
[1] Locher, J. L. (2000), The Magic of M. C. Escher, Harry

N. Abrams, Inc., p. 100, ISBN 0-8109-6720-0.
Martin Beech interprets the many polyhedral compounds

within Stars as corresponding to double stars and triple
star systems in astronomy.[2] Beech writes that, for Escher, the mathematical orderliness of polyhedra depicts
the stability and timeless quality of the heavens, and
similarly Marianne L. Teuber writes that Stars celebrates Eschers identication with Johannes Keplers neoPlatonic belief in an underlying mathematical order in the
universe.[8]
[2] Beech, Martin, Eschers Stars", Journal of the

Royal Astronomical Society of Canada 86: 169177,
Bibcode:1992JRASC..86..169B.
Alternatively, Howard W. Jae interprets the polyhedral

forms in Stars crystallographically, as brilliantly faceted
jewels oating through space, with its compound polyhedra representing crystal twinning.[9]
However, R. A. Dunlap points out the contrast between
the order of the polyhedral forms and the more chaotic
biological nature of the chameleons inhabiting them.[10]
In the same vein, Beech observes that the stars themselves convey tension between order and chaos: despite
their symmetric shapes, the stars are scattered apparently
at random, and vary haphazardly from each other.[2] As
Escher himself wrote about the central chameleon cage,
I shouldn't be surprised if it wobbles a bit.[2]
29.4 Related works
[3] Hart, George W. (1996), The Polyhedra of M.C. Escher, Virtual Polyhedra.
[4] Coxeter, H. S. M. (1985), A special book review: M. C. Escher: His life and complete graphic
work, The Mathematical Intelligencer 7 (1): 5969,
doi:10.1007/BF03023010. Coxeters analysis of Stars is
on pp. 6162.
[5] Escher, M. C. (2001), M.C. Escher, the graphic work,
Taschen, p. v, ISBN 978-3-8228-5864-6.
[6] Stars, National Gallery of Canada, retrieved 2011-11-19.
[7] Calter, Paul (1998), The Platonic Solids, Lecture Notes:
Geometry in Art and Architecture, Dartmouth College.
[8] Teuber, M. L. (July 1974), Sources of ambiguity in the
prints of Maurits C. Escher, Scientic American 231: 90
104, doi:10.1038/scienticamerican0774-90.
[9] Jae, Howard W. (1996), About the frontispiece,
Crystal Chemistry and Refractivity, Dover, p. vi, ISBN
978-0-486-69173-2.
[10] Dunlap, R. A. (1992), Fivefold symmetry in the graphic
art of M. C. Escher, in Hargittai, Istvn, Fivefold Symmetry (2nd ed.), World Scientic, pp. 489504, ISBN
978-981-02-0600-0.
A closely related woodcut, Study for Stars, completed in

August 1948,[2][11] depicts wireframe versions of several [11] Locher (2000), p. 99.
of the same polyhedra and polyhedral compounds, oating in black within a square composition, but without [12] Clute, John; Grant, John (1999), The encyclopedia of fantasy (2nd ed.), Macmillan, p. 322, ISBN 978-0-312the chameleons. The largest polyhedron shown in Study
19869-5.
for Stars, a stellated rhombic dodecahedron, is also one
of two polyhedra depicted prominently in Eschers 1961 [13] Artwork detail, Kemper Museum, retrieved 2011-11-19.
print Waterfall.[3]
Eschers later work Four Regular Solids (Stereometric Figure) returned to the theme of polyhedral compounds, depicting a more explicitly Keplerian form in which the
compound of the cube and octahedron is nested within
the compound of the dodecahedron and icosahedron.[10]
29.5 Collections and publications

Stars was used as cover art for the 1962 anthology Best
Fantasy Stories edited by Brian Aldiss.[12]
Chapter 30
Still Life and Street

Still Life and Street is a woodcut print by the Dutch artist
M. C. Escher which was rst printed in March, 1937. It
was his rst print of an impossible reality. In this artwork
we have two quite distinctly recognizable realities bound
together in a natural, and yet at the same time a completely impossible, way. Looked at from the window, the
houses make book-rests between which tiny dolls are set
up. Looked at from the street, the books stand yards high
and a gigantic tobacco jar stands at the crossroads.
A small street in Savona, Italy, was the inspiration for this
work.[1] Escher said it was one of his favorite drawings
but thought he could have drawn it better.
This image is a classic example of Eschers plays on
perspective. In it, the horizontal plane of the table continues into the distance to become the street, and the rows of
books on the table are seen to lean against the tall buildings that line the street.
30.1 See also

Printmaking
30.2 References
[1] World of Escher Gallery. Retrieved February 23, 2010.
30.3 Sources
39
Chapter 31
Still Life with Mirror

Still Life with Mirror is a lithograph by the Dutch artist
M. C. Escher which was created in 1934.[1] The reection of the mirror mingles together two completely unrelated spaces and introduces the outside world of the small
town narrow street in Abruzzi into internal world of the
bedroom.[2] This work of Escher is closely related to his
later application of mirror eect in 1937 Still Life and
Street.[3] Escher manipulates the scale in dierent parts
of the print to achieve the eect of smooth connection
between worlds.[4]
31.1 References
[1] Doris Schattschneider; Michele Emmer (19 September
2005). M.C. Eschers Legacy: A Centennial Celebration
: Collection of Articles Coming from the M.C. Escher Centennial Conference, Rome, 1998. Springer. p. 219. ISBN
978-3-540-20100-7. Retrieved 17 June 2013.
[2] Bruno Ernst (1994). The Magic Mirror of M.C. Escher.
Barnes & Noble. pp. 22, 74. ISBN 978-1-56619-770-0.
Retrieved 14 July 2013.
[3] Norman Rockwell; M. C. Escher; J. C. Locher (1 June
1984). The World of M. C. Escher. Penguin USA. p. 7.
ISBN 978-0-451-79959-3. Retrieved 18 July 2013.
[4] Castner, Henry (2013). The Robinson XI Projection.
Cartographic Perspectives. pp. 6365. Retrieved 19 July
2013.
40
Chapter 32

Still Life with Spherical Mirror is a lithography print by
the Dutch artist M. C. Escher rst printed in November
1934. It depicts a setting with rounded bottle and a metal
sculpture of a bird with a human face seated atop a newspaper and a book. The background is dark but in the
bottle can be seen the reection of Eschers studio and
Escher himself sketching the scene.
Self-portraits in reective spherical surfaces can be found
in Eschers early ink drawings and in his prints as late as
the 1950s. The metal bird/human sculpture is real and
was given to Escher by his father-in-law. This sculpture
appears again in Eschers later prints Another World Mezzotint (Other World Gallery) (1946) and Another World
(1947).
32.1 See also

Printmaking
32.2 Sources
41
Chapter 33
Three Spheres II
Three Spheres II is a lithograph print by the Dutch artist
M. C. Escher rst printed in April 1946.
As the title implies, it depicts three spheres resting on a
at surface.
The sphere on the left is transparent with a photorealistic
depiction of the refracted light cast through it towards the
viewer and onto the at surface.
The sphere in the center is reective. Its reection is a
self-replicating image of Escher in his studio drawing the
three spheres. In the reection one can clearly see the image of the three spheres on the paper Escher is drawing
on: in the center sphere of that image, one can vaguely
make out the reection of Eschers studio, which is depicted in the main image. This process is implied to be
innite, recursive.
The sphere on the right is opaque and diuse, i.e. neither
specularly reective nor transparent.
33.1 See also

Hand with Reecting Sphere
Printmaking
33.2 Sources
42
Chapter 34
Three Worlds (M. C. Escher)

Three Worlds is a lithograph print by the Dutch artist M.
C. Escher rst printed in December 1955.
Three Worlds depicts a large pool or lake during the autumn or winter months, the title referring to the three visible perspectives in the picture: the surface of the water
on which leaves oat, the world above the surface, observable by the waters reection of a forest, and the world
below the surface, observable in the large sh swimming
just below the waters surface.
Escher also created a picture named Two Worlds.
34.1 See also

Puddle
Printmaking
The picture is based on true optical eects, reection and
refraction. The angle of incidence is the line between the
reection of the trees and refraction allowing the view of
the sh.
34.2 Sources
34.3 External links

Gallery of Eschers images
43
Chapter 35
Tower of Babel (M. C. Escher)

Tower of Babel is a 1928 woodcut by M. C. Escher. It depicts the Babylonians attempting to build a tower to reach
God, a story that is recounted in Genesis 11:9. God frustrated their attempts by creating a confusion of languages
so the builders could no longer understand each other and
the work halted. Although Escher dismissed his works
before 1935 as of little or no value as they were for the
most part merely practice exercises, some of them, including the Tower of Babel, chart the development of his
interest in perspective and unusual viewpoints that would
become the hallmarks of his later, more famous, work.
35.3 Notes
In contrast to many other depictions of the biblical story,

such as those by Pieter Brueghel the Elder (The Tower
of Babel) and Gustave Dor (The Confusion of Tongues),
Escher depicts the tower as a geometrical structure and
places the viewpoint above the tower. This allows him
to exercise his skill with perspective, but he also chose to
centre the picture around the top of the tower as the focus
for the climax of the action. He later commented:
Some of the builders are white and others black. The work is at a standstill because
they are no longer able to understand one another. Seeing as the climax of the drama takes
place at the summit of the tower which is under construction, the building has been shown
from above as though from a birds eye view[1]
35.1 See also

Belvedere
Waterfall
35.2 References
[1] Finkel, I. L.; Seymour, M. J., eds. (2009). Babylon. Oxford University Press. ISBN 978-0-19-538540-3.
44
Miranda Fellows (1995). The Life and Works of Escher. Bristol: Paragon Book Service. ISBN 0-75251175-0.
Chapter 36
Waterfall (M. C. Escher)

Waterfall (Waterval) is a lithograph print by the Dutch
artist M. C. Escher rst printed in October 1961. It
shows an apparent paradox where water from the base of
a waterfall appears to run downhill along the water path
before reaching the top of the waterfall.
that Escher drew in ink as a study in 1942.

The background seems to be a climbing expanse of
terraced farmland.
This drawing seemingly depicts a violation of the principle of conservation of energy of physics, due to the fact
While most two-dimensional artists use relative propor- that the water gains kinetic energy, but does not lose any
tions to create an illusion of depth, Escher here and elsegravitational potential energy.
where uses conicting proportions to create a visual paradox. The waterfalls leat has the structure of two Penrose
triangles. A Penrose triangle is an impossible object designed by Oscar Reutersvrd in 1934, and independently 36.2 References
by Roger Penrose in 1958.[1]
[1] Penrose, L. S.; Penrose, R. (1958). Impossible objects: A special type of visual illusion. British Journal of Psychology 49 (1): 3133. doi:10.1111/j.20448295.1958.tb00634.x. PMID 13536303.
36.1 Description
The image depicts a village or small city with an elevated
aqueduct and waterwheel as the main feature. The aqueduct begins at the waterwheel and ows behind it. The
walls of the aqueduct step downward, suggesting that it
slopes downhill. The aqueduct turns sharply three times,
rst to the left, then straight forward and nally to the left
again. The viewer looks down at the scene diagonally,
which means that from the viewers perspective the aqueduct appears to be slanted upward. The viewer is also
looking across the scene diagonally from the lower right,
which means that from the viewers perspective the two
left-hand turns are directly in line with each other, while
the waterwheel, the forward turn and the end of the aqueduct are all in line. The second left-hand turn is supported
by pillars from the rst, while the other two corners are
supported by a tower of pillars that begins at the waterwheel. The water falls o the edge of the aqueduct and
over the waterwheel in an innite cycle; in his notes on the
picture, Escher points out that some water must be periodically added to this apparent perpetual motion machine
to compensate for evaporation. The two support towers continue above the aqueduct and are topped by two
compound polyhedra. The one on the left is a compound
of three cubes. The one on the right is a stellation of
a rhombic dodecahedron (or a compound of three nonregular octahedra) and is known as Eschers solid.
36.3 External links
Below the mill is a garden of bizarre, giant plants. This is

actually a magnied view of a cluster of moss and lichen
45
Eschers Solidfrom Wolfram MathWorld

Eschers Solid Includes a great deal of metric data
The Polyhedra of M.C. Escher from George W. Hart
46
CHAPTER 36. WATERFALL (M. C. ESCHER)
36.4 Text and image sources, contributors, and licenses

36.4.1
Text
M. C. Escher Source: http://en.wikipedia.org/wiki/M.%20C.%20Escher?oldid=643000547 Contributors: Tarquin, Koyaanis Qatsi, Jeronimo, Ap, Sjc, Andre Engels, Scipius, Danny, Tsja, Rootbeer, Cyrek, Tedernst, Leandrod, Patrick, JohnOwens, Michael Hardy, Gabbe, Wapcaplet, Ixfd64, GTBacchus, Paul A, Looxix, Ahoerstemeier, GGano, Suisui, Angela, Jebba, Andres, Raven in Orbit, Conti, Schneelocke,
Gamma, Lenaic, Dcoetzee, WhisperToMe, Timc, Topbanana, MD87, PuzzletChung, Robbot, Murray Langton, 1984, Fredrik, Romanm,
Gandalf61, Chris Roy, P0lyglut, Gidonb, Blainster, Diderot, LGagnon, Iaen, CdaMVvWgS, Intangir, Giftlite, Graeme Bartlett, Christopher Parham, Gtrmp, Aratuk, Folks at 137, Zigger, Bradeos Graphon, Snowdog, Curps, NeoJustin, Alison, FriedMilk, Vodka, Solipsist,
Bobblewik, Mateuszica, Quadell, Noe, Antandrus, Piotrus, Jossi, MacGyverMagic, Tomruen, Urhixidur, Joyous!, Gerrit, Adashiel, Trevor
MacInnis, Piotras, Mike Rosoft, D6, MichaelMcGun, Justin Foote, Slady, Vinoir, Discospinster, Helohe, Zaheen, Rich Farmbrough,
Guanabot, Pmaccabe, Ardonik, Smyth, Ericamick, Bender235, ESkog, Mashford, JoeSmack, Theinfo, Kwamikagami, Shanes, RoyBoy,
Adambro, Renice, Bobo192, Valve, BrokenSegue, Viriditas, Dee Earley, Slinky Puppet, Rje, Twexler, Sam Korn, Haham hanuka, Erri4a,
Ogress, MCiura, Alansohn, Jeltz, Andrewpmk, Paleorthid, Ricky81682, Burn, WikiParker, Snowolf, Blobglob, Gbeeker, Randy Johnston,
ShawnVW, Ianblair23, Redvers, Dismas, Alexander Maier, Simetrical, Jerey O. Gustafson, Bjones, David Haslam, Samsoncity, Mandavi, WadeSimMiser, Iisryan, CharlesC, Liface, Dysepsion, Mandarax, Matilda, Graham87, Sparkit, Kbdank71, ConradKilroy, Wikix,
Nightscream, Koavf, Astropithicus, Isantala, Loudenvier, Staecker, TheRingess, MZMcBride, SeanMack, Afterwriting, Fred Bradstadt,
FlaBot, M4tth, Naraht, Michaelbluejay, RobertG, DannyWilde, Nihiltres, Uglinessman, Klosterdev, Ayla, DevastatorIIC, Nicapicella, Alphachimp, Bmicomp, King of Hearts, Jer, Chobot, SirGrant, DVdm, Random user 39849958, Cactus.man, Hall Monitor, B., Sophitus,
Ben Tibbetts, JPD, YurikBot, Wavelength, Sceptre, Jack Cain, Phantomsteve, Todasco, Kyorosuke, Neilbeach, Oni Lukos, Anomalocaris, K.C. Tang, Fnorp, NawlinWiki, Wiki alf, ErkDemon, MLeungGtw, AlMac, Wynler, Entirety, Jpbowen, Raven4x4x, Voidxor,
Lomn, Dbrs, Alus, Bota47, Paaskynen, Cosmotron, BusterD, Daverd, Arthur Rubin, TBadger, Garion96, Meegs, GrinBot, Roke, Nekura,
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OKBot, Mjw212, Janggeom, Varanwal, Shawnvinson, Baldrick90, TFCforever, Dollyzdadevil, De728631, ClueBot, Snigbrook, The
Thing That Should Not Be, CharlesYin96, Rjd0060, B. van der Wee, Supertouch, UserDoe, Drmies, Mild Bill Hiccup, Niceguyedc,
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XLinkBot, AlexGWU, Nepenthes, NellieBly, Lvova, Artaxerxes, Mm40, Jadtnr1, HexaChord, Angryapathy, Felix Folio Secundus, Addbot,
BONKEROO, Wingspeed, Fieldday-sunday, Mr. Wheely Guy, CanadianLinuxUser, Robbinsville, Jaeger123, Derekliu730, Eivindbot,
DFS454, Chzz, Favonian, Vysotsky, Tassedethe, Tide rolls, Avono, Gail, Jarble, Trotter, Quantumobserver, Legobot, Luckas-bot, Yobot,
General Doggy, Ptbotgourou, Fraggle81, GreatInDayton, Anypodetos, Dra0003, Pepinzoe, Chelley.t, Jim1138, Piano non troppo, AdjustShift, Kingpin13, Warriorow, Materialscientist, ImperatorExercitus, Eightheads, Dromioofephesus, OllieFury, ArthurBot, Nifky?, NWs
Public Sock, Xqbot, Capricorn42, Jesusjones22, Gilo1969, Jmundo, Abce2, Frankie0607, RibotBOT, Bellerophon, Garshgrang, Sensesused, Shadowjams, Dan6hell66, Captain-n00dle, FrescoBot, Dogposter, Pepper, Tony Wills, Xhaoz, DivineAlpha, Dseg33, WQUlrich,
Wandererlad, Bone head89, Toaster oven09, Thaeralali, Loopygrumpkins, Tomcat7, RedBot, Nderadio96, Abc518, TobeBot, Professor
Fiendish, Sheogorath, Benmurdoch, Lotje, Javierito92, Vrenator, Clarkcj12, Nemesis of Reason, Bluest, Bramley007, Specs112, Tbhotch,
DARTH SIDIOUS 2, Alph Bot, Samuelhong55789237, ArtquestLondon, EmausBot, Kchappell32, F, Josve05a, Gz33, Wayne Slam,
HandsomeFella, Spicemix, ClueBot NG, Jnorton7558, Frietjes, Concord113, Timmmm4, Mark K Adams, Helpful Pixie Bot, TetraEleven,
Lawandeconomics1, T0134125H, Mark Arsten, OttawaAC, Dainomite, Snow Blizzard, FatWhite&Nerdi2000, Glacialfox, Fred C. Anderson, PaulLouisM, SergeantHippyZombie, Cyberbot II, Dexbot, Franck Holland, Mogism, Lugia2453, VIAFbot, Graphium, Hippocamp,
Epicgenius, Red-eyed demon, Nonsenseferret, Alexandre Candalaft, EvergreenFir, DavidLeighEllis, ReconditeRodent, Luvartanddesign,
Patbdwll, Guyonaudo, Stormmeteo, Monkbot, Xxylelxx and Anonymous: 920
Another World (M. C. Escher) Source: http://en.wikipedia.org/wiki/Another%20World%20(M.%20C.%20Escher)?oldid=585947649
Contributors: Fuelbottle, Mdob, MakeRocketGoNow, Justin Foote, Deror avi, Platypus222, Nihiltres, Anomalocaris, Attilios, SmackBot,
Gary2863, Unint, Michaelbusch, Bentendo24, Cydebot, Soetermans, WinBot, Goldenrowley, Evaunit666, Johnbod, GrahamHardy, GlassFET, Fantastic fred, Vanished user 82345ijgeke4tg, Anticipation of a New Lovers Arrival, The, Addbot, Lightbot, Anypodetos, Tb94114,
Citation bot, Petropoxy (Lithoderm Proxy), Lunaibis, Wikipelli, ClueBot NG and Anonymous: 10
36.4. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
47
Ascending and Descending Source: http://en.wikipedia.org/wiki/Ascending%20and%20Descending?oldid=628867960 Contributors:

Hyacinth, AnonMoos, Cluth, Chowbok, Ouro, Perey, Justin Foote, Kinitawowi, Rje, Deror avi, Stephen, Mandarax, Nightscream, Nihiltres, Anomalocaris, ErkDemon, Jpbowen, Eptin, SmackBot, InverseHypercube, Sirgregmac, Valenciano, Danny Beaudoin, Peter Horn,
Ugo1970, Cydebot, Cruncher, Goldenrowley, Fetchcomms, Quanyails, Boob, Pernambuco, Yonidebot, Johnbod, Dark Ermac, Barraki,
GrahamHardy, VolkovBot, Tanveerbadar, Matty B 1000, BlueVelvet86, Abaroth, ClueBot, Chimino, Addbot, BONKEROO, Lightbot,
Zorrobot, Yobot, Anypodetos, Calle, Redgirly123, Herr Satz, Shaydalton, Enki H., Jujutacular, Lunaibis, Jncobbs, My name is not dave
and Anonymous: 30
Atrani, Coast of Amal Source: http://en.wikipedia.org/wiki/Atrani%2C%20Coast%20of%20Amalfi?oldid=602810480 Contributors:
Altenmann, Fuelbottle, MakeRocketGoNow, Mike Rosoft, Justin Foote, Nihiltres, Cactus.man, Cydebot, Oreo Priest, WinBot, Goldenrowley, Derlay, Johnbod, 5theye, GrahamHardy, FlagSteward, DerBorg, Addbot, Lightbot, Luckas-bot, Anypodetos, Lunaibis and Anonymous: 5
Belvedere (M. C. Escher) Source: http://en.wikipedia.org/wiki/Belvedere%20(M.%20C.%20Escher)?oldid=581938560 Contributors:
AnonMoos, Nyh, Jorge Stol, Sonett72, MakeRocketGoNow, Mike Rosoft, Justin Foote, Aris Katsaris, Tomheaton, Rje, Deror avi, Banpei, Sparkit, Vkrnt, Platypus222, Nihiltres, Tavilis, Anomalocaris, ErkDemon, ThreeBlindMice, Cydebot, Goldenrowley, David Eppstein,
PCock, Johnbod, GrahamHardy, CryptWizard, Abaroth, Mack-the-random, Addbot, Lightbot, Zorrobot, Anypodetos, HRoestBot, Joesodacapn, EmausBot, Lunaibis, ClueBot NG and Anonymous: 11
The Bridge (M. C. Escher) Source: http://en.wikipedia.org/wiki/The%20Bridge%20(M.%20C.%20Escher)?oldid=585948883 Contributors: Blainster, Fuelbottle, Jason Quinn, Blankfaze, MakeRocketGoNow, Justin Foote, MockTurtle, Deror avi, Tabletop, Sparkit, Nihiltres,
JM.Beaubourg, Cactus.man, Cydebot, Goldenrowley, Johnbod, GrahamHardy, Ntropia, Addbot, LaaknorBot, Lightbot, Anypodetos, Doc
Quintana, Lunaibis and Anonymous: 4
Castrovalva (M. C. Escher) Source: http://en.wikipedia.org/wiki/Castrovalva%20(M.%20C.%20Escher)?oldid=637772444 Contributors: Dino, Wikiborg, Andrewman327, Fuelbottle, Khaosworks, Kuralyov, MakeRocketGoNow, Parmadil, Justin Foote, Deror avi, Splintax, Nihiltres, Cyclone49, Tamfang, DavidCooke, Cydebot, Nick Number, Goldenrowley, Michig, Fray Pentaro, Johnbod, 5theye, GrahamHardy, Pesak, Addbot, Lightbot, Luckas-bot, Anypodetos, FrescoBot, Lunaibis, The Herald and Anonymous: 9
Circle Limit III Source: http://en.wikipedia.org/wiki/Circle%20Limit%20III?oldid=632226953 Contributors: Hyacinth, Tomruen, Ericoides, David Eppstein, Piledhigheranddeeper, Double sharp and Chris857
Convex and Concave Source: http://en.wikipedia.org/wiki/Convex%20and%20Concave?oldid=640805094 Contributors: Hadal, Tobias
Bergemann, MakeRocketGoNow, Justin Foote, Foobaz, Deror avi, Camw, Sparkit, Nihiltres, Mar-Vell, SmackBot, Commander Keane
bot, Asydwaters, OrphanBot, BocoROTH, Tunmise, Kingsh, Cydebot, Goldenrowley, Quanyails, David Eppstein, STBot, Johnbod, GrahamHardy, Aspects, Martarius, ClueBot, Tameamseo, Addbot, Lightbot, Anypodetos, Cresix, Lunaibis, ClueBot NG, 1234Wearecool,
Melcous and Anonymous: 14
Cube with Magic Ribbons Source: http://en.wikipedia.org/wiki/Cube%20with%20Magic%20Ribbons?oldid=558088417 Contributors:
Smjg, Justin Foote, Bender235, DreamGuy, GregorB, Nihiltres, Anomalocaris, ErkDemon, SmackBot, Durova, OrphanBot, Omega9380,
DanielRigal, Cydebot, Johnbod, Fleebo, GrahamHardy, Phyte, Lightbot, Anypodetos, JazzieIce!, Lunaibis, Helpful Pixie Bot and Anonymous: 7
Curl-up Source: http://en.wikipedia.org/wiki/Curl-up?oldid=565754208 Contributors: Lee M, Quadell, MakeRocketGoNow, Justin
Foote, Rich Farmbrough, Chibimagic, Deror avi, Reinoutr, Sparkit, HopDavid, Nihiltres, SpectrumDT, Cactus.man, Anomalocaris, SmackBot, Keegan, 16@r, Tawkerbot2, Cydebot, Goldenrowley, EdwinGroothuis, Sluzzelin, Swpb, Mausy5043, Johnbod, GrahamHardy, Serprex, Ainlina, ClueBot, Addbot, Lightbot, Anypodetos, Ripohopeteg, Lunaibis, ClueBot NG, Sapphiredenise26 and Anonymous: 9
Dolphins (M. C. Escher) Source: http://en.wikipedia.org/wiki/Dolphins%20(M.%20C.%20Escher)?oldid=624705226 Contributors: Fuelbottle, Quadell, MakeRocketGoNow, Justin Foote, Nihiltres, Cactus.man, SmackBot, GoodDay, Ser Amantio di Nicolao, Cydebot,
MarshBot, Goldenrowley, Sluzzelin, Magioladitis, Johnbod, GrahamHardy, Flyer22, Life of Riley, Addbot, Imbrickle, Favonian, Lightbot,
Anypodetos, Storm42, Petropoxy (Lithoderm Proxy), Lunaibis, ZroBot, Orange Suede Sofa, ClueBot NG, Faizan and Anonymous: 15
Drawing Hands Source: http://en.wikipedia.org/wiki/Drawing%20Hands?oldid=623449380 Contributors: Aratuk, MakeRocketGoNow,
Trevor MacInnis, Justin Foote, Discospinster, BrokenSegue, Alansohn, Mandarax, Deltabeignet, Ianthegecko, Nihiltres, Anomalocaris,
Grafen, Dyefade, Kubra, Verne Equinox, Doc Strange, Bluebot, Tunmise, Hvn0413, Twas Now, Outriggr, HonztheBusDriver, Cydebot,
Thijs!bot, Mentisto, Goldenrowley, Spencer, Bongwarrior, Jonathanzung, Johnbod, Fountains of Bryn Mawr, Fleebo, SixteenBitJorge,
GrahamHardy, Tomer T, SieBot, Flyer22, ClueBot, Adgjladgjl, Addbot, Mentisock, Tide rolls, Lightbot, Maxis ftw, Recognizance,
TheWatchDude, Meaghan, Gorko, TheMesquito, Lunaibis, ZroBot, Coasterlover1994, Smartie2thaMaxXx, ClueBot NG, TCN7JM,
VeryCrocker, Aryanbhargava and Anonymous: 51
Gravitation (M. C. Escher) Source: http://en.wikipedia.org/wiki/Gravitation%20(M.%20C.%20Escher)?oldid=558086749 Contributors:
Ajd, Tomruen, MakeRocketGoNow, Canterbury Tail, Justin Foote, MBisanz, Rje, DanielLC, Axl, Tchalvak, Ardfern, Sparkit, HopDavid,
Nihiltres, King of Hearts, Anomalocaris, Tamfang, Tunmise, FlocciNonFacio, Cydebot, Oreo Priest, Goldenrowley, Steelpillow, Sluzzelin,
Johnbod, 49erDuck, TnTGamer, Addbot, Lightbot, Anypodetos, Lunaibis, Grapple X and Anonymous: 9
Hand with Reecting Sphere Source: http://en.wikipedia.org/wiki/Hand%20with%20Reflecting%20Sphere?oldid=623449139 Contributors: Wwwwolf, Angela, Darkwind, Auric, Fuelbottle, MakeRocketGoNow, Justin Foote, Thu, SlimVirgin, Deror avi, AySz88, Nihiltres,
Fragglet, Bloodofox, Jonathan.s.kt, Attilios, Ohbusiness, GrafZahl, JeyP, John, Mgiganteus1, Outriggr, Cydebot, Christian75, DBaba,
WinBot, Goldenrowley, Kainino, Phort99, Johnbod, 5theye, Skier Dude, GrahamHardy, Dendodge, Jake178656, Radical.bison, ClueBot,
Sun Creator, Egmontaz, Rror, Addbot, Lithoderm, Anypodetos, Flanker0007, Lunaibis, F, ClueBot NG, Skarmenadius, ChromeAce, Ele
boz, Lugia2453, VeryCrocker and Anonymous: 52
House of Stairs Source: http://en.wikipedia.org/wiki/House%20of%20Stairs?oldid=558086556 Contributors: Lee M, Samsara, Iaen, Alan
Liefting, Chowbok, MakeRocketGoNow, Justin Foote, Axl, Deror avi, Sparkit, Nihiltres, Argyrios Saccopoulos, SpectrumDT, SpuriousQ,
Gaius Cornelius, Anomalocaris, Ketsuekigata, SmackBot, Tunmise, Yadaman, JohnI, Cydebot, Xantharius, Goldenrowley, Albmont, Rettetast, GrahamHardy, Addbot, Lightbot, Anypodetos, DiverDave, Armbrust, Lunaibis, Benabbes ilyes and Anonymous: 12
Magic Mirror (M.C. Escher) Source: http://en.wikipedia.org/wiki/Magic%20Mirror%20(M.C.%20Escher)?oldid=585982369 Contributors: Ixfd64, Fuelbottle, Jason Quinn, MakeRocketGoNow, Justin Foote, ShawnVW, Deror avi, Nihiltres, RussBot, Anomalocaris, CmdrObot, Jibi44, Cydebot, Goldenrowley, Mrob27, Johnbod, 5theye, GrahamHardy, Station1, Lightbot, Yobot, Anypodetos, Rameshngbot,
EmausBot, Lunaibis, Silv the Something, Cold Season and Anonymous: 5
48
Metamorphosis I Source: http://en.wikipedia.org/wiki/Metamorphosis%20I?oldid=596993215 Contributors: Fuelbottle, Jason Quinn,

MakeRocketGoNow, Justin Foote, Rje, Nihiltres, Cactus.man, Wavelength, Anomalocaris, Attilios, Cydebot, Oreo Priest, WinBot, Goldenrowley, Johnbod, GrahamHardy, Addbot, Lightbot, Anypodetos, Petropoxy (Lithoderm Proxy), Lunaibis and Anonymous: 3
Metamorphosis II Source: http://en.wikipedia.org/wiki/Metamorphosis%20II?oldid=596993563 Contributors: Wikiborg, Hadal, Fuelbottle, Jason Quinn, MakeRocketGoNow, Justin Foote, Rje, FlaBot, Nihiltres, Cactus.man, Wavelength, Anomalocaris, Ljump12, Attilios,
SmackBot, Cydebot, Oreo Priest, WinBot, Goldenrowley, Sluzzelin, KConWiki, Johnbod, GlassCobra, Addbot, Lightbot, Anypodetos,
Petropoxy (Lithoderm Proxy), Lunaibis and Anonymous: 9
Metamorphosis III Source: http://en.wikipedia.org/wiki/Metamorphosis%20III?oldid=558089664 Contributors: Merphant, Wikiborg,
MakeRocketGoNow, Justin Foote, Vystrix Nexoth, KBi, Unixer, Sparkit, Nihiltres, Cactus.man, Anomalocaris, Attilios, SmackBot, Cydebot, Goldenrowley, Sluzzelin, Johnbod, Cometstyles, GrahamHardy, Falcon8765, Adamnmo, Lightbot, Anypodetos, Petropoxy (Lithoderm Proxy), Lunaibis and Anonymous: 14
Print Gallery (M. C. Escher) Source: http://en.wikipedia.org/wiki/Print%20Gallery%20(M.%20C.%20Escher)?oldid=573733602 Contributors: Anomalocaris, Katharineamy, GrahamHardy, Regregex, Jsfouche, Topher385, Kilom691, , RjwilmsiBot, AvicBot, Helpful
Pixie Bot, BG19bot, EagerToddler39 and Anonymous: 5
Puddle (M. C. Escher) Source: http://en.wikipedia.org/wiki/Puddle%20(M.%20C.%20Escher)?oldid=629578776 Contributors: Ahoerstemeier, MakeRocketGoNow, Mike Rosoft, Justin Foote, Roo72, JRM, Swamp Ig, Ardfern, Mandarax, Sparkit, Pispki, Nihiltres,
JM.Beaubourg, Hellbus, StuRat, Smurrayinchester, OrphanBot, Tunmise, Mphinney, Cydebot, Goldenrowley, Johnbod, Americanfreedom,
Lightbot, Anypodetos, Petropoxy (Lithoderm Proxy), MegaSloth, EmausBot, Lunaibis, ClueBot NG, Pratyya Ghosh and Anonymous: 16
Regular Division of the Plane Source: http://en.wikipedia.org/wiki/Regular%20Division%20of%20the%20Plane?oldid=631124333
Contributors: Charles Matthews, Hyacinth, Altenmann, Fuelbottle, Smjg, MakeRocketGoNow, Justin Foote, Rich Farmbrough, Jonathunder, Ringbang, GregorB, Cactus.man, Nlu, SmackBot, CBM, Cydebot, WinBot, Goldenrowley, Sluzzelin, Sophie means wisdom, Johnbod, Dekaptein, Chillum, Lightbot, Anypodetos, Measles, Petropoxy (Lithoderm Proxy), Shadowjams, WindingPaths, KLBot2, Ele boz,
Brad7777, Khazar2, Reatlas and Anonymous: 10
Relativity (M. C. Escher) Source: http://en.wikipedia.org/wiki/Relativity%20(M.%20C.%20Escher)?oldid=638896886 Contributors:
GTBacchus, AnonMoos, Andycjp, MakeRocketGoNow, Justin Foote, Vague Rant, Smyth, Root4(one), Bobo192, Cmdrjameson, Alansohn, Netkinetic, Deror avi, Kevin Lomax, Wikipedian231, Mandarax, Graham87, Nightscream, Nihiltres, Sceptre, Huw Powell, Jlittlet,
Haoie, BazookaJoe, JQF, SmackBot, EvilCouch, Ze miguel, DWaterson, Verne Equinox, Amatulic, Raymondluxuryacht, Joerite, Valenciano, Dream out loud, Incarania, Denimcat, Marm, Rogerbrent, Andyroo316, Ryulong, Andreworkney, Outriggr, Senorelroboto, Matt. P,
Cydebot, Anonymi, Jonathon Black, Thijs!bot, Sagaciousuk, Davidhorman, Luna Santin, Goldenrowley, JAnDbot, Gfwellman, Sho222,
Partymetroid, Pomte, Yonidebot, Johnbod, JRNorberg, Dark Ermac, Barraki, GrahamHardy, Deor, Philip Trueman, Johnred32, Enigmaman, Antixt, Shadow Falcon, StAnselm, Mikemoral, PurpleTigerFish, Thorrstein, Martarius, ClueBot, Binksternet, Graoully, Jusdafax,
Haz7po5, NuclearWarfare, Thinboy00P, Addbot, Proxima Centauri, Lightbot, Anypodetos, Anonymous from the 21th century, Jim1138,
Materialscientist, ArthurBot, The Slee, Pink cloudy sky, Regancy42, John Cline, Wackywace, Dgd, ClueBot NG, Deebo993, Sanfazer,
Rm1271 and Anonymous: 102
Reptiles (M. C. Escher) Source: http://en.wikipedia.org/wiki/Reptiles%20(M.%20C.%20Escher)?oldid=637131761 Contributors: Fuelbottle, MakeRocketGoNow, Justin Foote, Discospinster, Axl, WBardwin, Nihiltres, Bombe, Anomalocaris, Tanet, SmackBot, Tamfang,
Cydebot, Thijs!bot, WinBot, Goldenrowley, Sluzzelin, CapnPrep, Captain Innity, Johnbod, GrahamHardy, IPSOS, Addbot, Lightbot,
Anypodetos, Lunaibis, Sd31263, DASHBotAV and Anonymous: 13
Sky and Water I Source: http://en.wikipedia.org/wiki/Sky%20and%20Water%20I?oldid=589454687 Contributors: Jason Quinn, Alexf,
Justin Foote, Deror avi, Je3000, Nihiltres, Anomalocaris, HeartofaDog, Hmains, TenPoundHammer, LadyofShalott, Cydebot, N5iln,
Sluzzelin, Maias, Ferritecore, Spider-X, Alex LaPointe, Johnbod, Nave.notnilc, ClueBot, Anypodetos, Ciphers, Petropoxy (Lithoderm
Proxy), Lotje, DARTH SIDIOUS 2, Lunaibis, ClueBot NG, Adamrce and Anonymous: 14
Sky and Water II Source: http://en.wikipedia.org/wiki/Sky%20and%20Water%20II?oldid=590865416 Contributors: Jason Quinn, Justin
Foote, Deror avi, Nihiltres, Anomalocaris, Hmains, Betacommand, LadyofShalott, Cydebot, Sluzzelin, Maias, Johnbod, GrahamHardy,
Solo1234, Lithoderm, Anypodetos, Lunaibis, ClueBot NG and Anonymous: 1
Snakes (M. C. Escher) Source: http://en.wikipedia.org/wiki/Snakes%20(M.%20C.%20Escher)?oldid=571526080 Contributors: GTBacchus, MakeRocketGoNow, Justin Foote, Vinoir, ESkog, Sparkit, Nihiltres, Anomalocaris, Amatulic, OrphanBot, Tunmise, Cottingham,
John, Heavy1974, Pithecanthropus, Cydebot, Moterola4, Goldenrowley, Egpetersen, Sluzzelin, Johnbod, Jdubsonetrillion, GrahamHardy,
Kryptocow, Favonian, Lightbot, Anypodetos, Petropoxy (Lithoderm Proxy), Lunaibis, ClueBot NG and Anonymous: 8
Stars (M. C. Escher) Source: http://en.wikipedia.org/wiki/Stars%20(M.%20C.%20Escher)?oldid=621494526 Contributors: Hadal,
MakeRocketGoNow, Justin Foote, Rich Farmbrough, Rjwilmsi, HopDavid, Nihiltres, Anomalocaris, HeartofaDog, SchftyThree, OrphanBot, Tunmise, Lmcelhiney, Cydebot, Lossenelin, Goldenrowley, David Eppstein, Mausy5043, Johnbod, GrahamHardy, Lightbot,
Anypodetos, Petropoxy (Lithoderm Proxy), Metricmike, Lunaibis, ClueBot NG, Helpful Pixie Bot and Anonymous: 7
Still Life and Street Source: http://en.wikipedia.org/wiki/Still%20Life%20and%20Street?oldid=585949818 Contributors: Cluth, Academic Challenger, Fuelbottle, Jason Quinn, MakeRocketGoNow, Justin Foote, GregorB, Matt Deres, Nihiltres, Cactus.man, SmackBot,
Krispos42, Cydebot, Oreo Priest, AntiVandalBot, WinBot, Goldenrowley, EagleFan, Johnbod, SixteenBitJorge, Philip Trueman, ClueBot,
Rai27, Addbot, Lithoderm, Lightbot, Anypodetos, Petropoxy (Lithoderm Proxy), Markeilz, Ondokuzmart, Lunaibis, ClueBot NG, Ele boz,
Bzweebl and Anonymous: 17
Still Life with Mirror Source: http://en.wikipedia.org/wiki/Still%20Life%20with%20Mirror?oldid=587023752 Contributors: Nihiltres,
Woodshed, David Eppstein and AgadaUrbanit
Still Life with Spherical Mirror Source: http://en.wikipedia.org/wiki/Still%20Life%20with%20Spherical%20Mirror?oldid=585949405
Contributors: Fuelbottle, Jason Quinn, MakeRocketGoNow, Justin Foote, Deror avi, FlaBot, Nihiltres, Anomalocaris, Attilios, Cydebot,
Christian75, WinBot, Goldenrowley, Johnbod, GrahamHardy, Vanished user 82345ijgeke4tg, SilverVishnu, Addbot, Lightbot, Anypodetos,
Sketchmoose, Lunaibis, ZroBot and Anonymous: 3
Three Spheres II Source: http://en.wikipedia.org/wiki/Three%20Spheres%20II?oldid=590949977 Contributors: Kku, Fuelbottle, MakeRocketGoNow, Justin Foote, Deror avi, Nihiltres, Neilbeach, Anomalocaris, GraemeL, Hmains, TimBentley, GoodDay, Cydebot, WinBot,
Goldenrowley, Bakabaka, Johnbod, GrahamHardy, Ryan032, Addbot, Lightbot, Anypodetos, Lunaibis and Anonymous: 7
36.4. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
49
Three Worlds (M. C. Escher) Source: http://en.wikipedia.org/wiki/Three%20Worlds%20(M.%20C.%20Escher)?oldid=587410640

Contributors: MakeRocketGoNow, Justin Foote, Vinoir, Sparkit, BD2412, Nihiltres, Ismail, Anomalocaris, Smurrayinchester, SmackBot, OrphanBot, Tunmise, Hetar, Cydebot, Lugnuts, Shirt58, Goldenrowley, TimVickers, Larry Rosenfeld, VoABot II, ExplicitImplicity,
J.delanoy, Uncle Dick, Johnbod, GrahamHardy, BlackCab, Lightbot, Yobot, Anypodetos, Clarkcj12, Lunaibis, Delusion23 and Anonymous: 9
Tower of Babel (M. C. Escher) Source: http://en.wikipedia.org/wiki/Tower%20of%20Babel%20(M.%20C.%20Escher)?oldid=
635381358 Contributors: Tom harrison, Justin Foote, Bender235, Deror avi, BD2412, Nihiltres, SmackBot, Hmains, Ceoil, HisSpaceResearch, Neelix, Cydebot, Yomangani, R'n'B, Johnbod, GrahamHardy, Yomangan, Good Olfactory, Addbot, Anypodetos, Citation bot,
Petropoxy (Lithoderm Proxy), Super Goku V, Lunaibis, Everything Else Is Taken, ZroBot, SporkBot, Petrb, Bzweebl and Anonymous: 3
Waterfall (M. C. Escher) Source: http://en.wikipedia.org/wiki/Waterfall%20(M.%20C.%20Escher)?oldid=628867978 Contributors: Lee
M, Hyacinth, AndrewKepert, Bearcat, Ajd, MakeRocketGoNow, Justin Foote, Tomheaton, Alphax, Gbeeker, ReyBrujo, Deror avi, GregorB, Sparkit, BD2412, Rjwilmsi, HopDavid, Vkrnt, Nihiltres, Nivix, JM.Beaubourg, RussBot, Gaius Cornelius, Anomalocaris, ErkDemon, Zagalejo, SmackBot, Bazonka, Ghiraddje, Tunmise, BlackTerror, Reade, Poa, Hvn0413, Cydebot, Stuston, Thijs!bot, Eleuther,
Goldenrowley, CommonsDelinker, Pbroks13, Silas S. Brown, Fountains of Bryn Mawr, Cometstyles, Joanenglish, GrahamHardy, Robert
Stanforth, Srushe, JohnTopShelf, Binksternet, Mattgirling, Trivialist, M4gnum0n, Marius Vordal, Addbot, Lithoderm, Adrian 1001, Tide
rolls, Lightbot, Zorrobot, Anypodetos, AnomieBOT, Ciphers, Mauro Lanari, Truth or consequences-2, Erik9bot, FrescoBot, Dinamik-bot,
RjwilmsiBot, EmausBot, Lunaibis, ZroBot, Wmayner, Thine Antique Pen, ClueBot NG, Wolf of Thor, Nineran and Anonymous: 52
36.4.2
Images
File:2C_3_1979.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/2C_3_1979.JPG License: CC BY-SA 3.0 Contributors: Gerard Caris Original artist: Gerard Caris
File:Ascending_and_Descending.jpg Source: http://upload.wikimedia.org/wikipedia/en/6/66/Ascending_and_Descending.jpg License:
Fair use Contributors:
Ocial M. C. Escher website Original artist: ?
File:Atrani.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/f7/Atrani.JPG License: CC-BY-SA-3.0 Contributors: ?
Original artist: ?
File:Ballerina-icon.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/3a/Ballerina-icon.jpg License: CC-BY-SA-3.0 Contributors:
Snowdance.jpg Original artist: Snowdance.jpg: Rick Dikeman
File:Belvedere.jpg Source: http://upload.wikimedia.org/wikipedia/en/5/52/Belvedere.jpg License: Fair use Contributors:
Ocial M. C. Escher website Original artist: ?
File:Circle_limits_III_with_overlay.png Source:
License: Fair use Contributors:
Compare to File:Escher_Circle_Limit_III.jpg
Original artist:
Tomruen
http://upload.wikimedia.org/wikipedia/en/f/f4/Circle_limits_III_with_overlay.png
File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original

artist: ?
File:DrawingHands.jpg Source: http://upload.wikimedia.org/wikipedia/en/b/ba/DrawingHands.jpg License: Fair use Contributors: ?
Original artist: ?
File:Escher{}s_Relativity.jpg Source: http://upload.wikimedia.org/wikipedia/en/a/a3/Escher%27s_Relativity.jpg License: Fair use
Contributors: ? Original artist: ?
File:Escher,_Regular_Division_of_the_Plane_III.jpg Source: http://upload.wikimedia.org/wikipedia/en/9/96/Escher%2C_Regular_
Division_of_the_Plane_III.jpg License: Fair use Contributors:
Cybermuse Original artist: ?
File:Escher.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6a/Escher.jpg License: CC BY-SA 3.0 Contributors: Ga het
na (Nationaal Archief NL) Original artist: Photographer: Hans Peters (ANEFO)
File:Escher_Circle_Limit_III.jpg Source: http://upload.wikimedia.org/wikipedia/en/5/55/Escher_Circle_Limit_III.jpg License: Fair
use Contributors:
[1] Original artist: ?
File:Escher_Museum.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/b4/Escher_Museum.jpg License: CC BY 2.0 Contributors: Flickr: Escher Museum Original artist: Andrew Crump
File:Escher_Waterfall.jpg Source: http://upload.wikimedia.org/wikipedia/en/e/e8/Escher_Waterfall.jpg License: Fair use Contributors:
? Original artist: ?
File:Flag_of_the_Netherlands.svg Source: http://upload.wikimedia.org/wikipedia/commons/2/20/Flag_of_the_Netherlands.svg License: Public domain Contributors: Own work Original artist: Zscout370
File:Hokusai-fuji7.png Source: http://upload.wikimedia.org/wikipedia/commons/7/7f/Hokusai-fuji7.png License: Public domain Contributors: Jim Breens Ukiyo-E Gallery - Hokusai Original artist: Katsushika Hokusai (
)
File:Hyperbolic_domains_642.png Source: http://upload.wikimedia.org/wikipedia/commons/6/60/Hyperbolic_domains_642.png License: Public domain Contributors: KaleidoTile Original artist: Tom Ruen
File:Leonardo_polyhedra.png Source: http://upload.wikimedia.org/wikipedia/commons/1/18/Leonardo_polyhedra.png License: Public
domain Contributors: ? Original artist: ?
50
File:Marble_floor_mosaic_Basilica_of_St_Mark_Vencice.jpg
Source:
http://upload.wikimedia.org/wikipedia/commons/9/
95/Marble_floor_mosaic_Basilica_of_St_Mark_Vencice.jpg License: Public domain Contributors: http://www.georgehart.com/
virtual-polyhedra/uccello.html Original artist: Paolo Uccello
File:Optical_Illustion-Ambiguous_Patterns.svg
Source:
http://upload.wikimedia.org/wikipedia/commons/5/51/Optical_
Illustion-Ambiguous_Patterns.svg License: CC-BY-SA-3.0 Contributors: Converted from orignal png Original artist: Alex Turner
File:Padlock-silver.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fc/Padlock-silver.svg License: CC0 Contributors:
http://openclipart.org/people/Anonymous/padlock_aj_ashton_01.svg Original artist: This image le was created by AJ Ashton. Uploaded
from English WP by User:Eleassar. Converted by User:AzaToth to a silver color.
File:Question_book-new.svg Source: http://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0
Contributors:
Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist:
Tkgd2007
File:Speaker_Icon.svg Source: http://upload.wikimedia.org/wikipedia/commons/2/21/Speaker_Icon.svg License: Public domain Contributors: ? Original artist: ?
File:Text_document_with_red_question_mark.svg Source: http://upload.wikimedia.org/wikipedia/commons/a/a4/Text_document_
with_red_question_mark.svg License: Public domain Contributors: Created by bdesham with Inkscape; based upon Text-x-generic.svg
from the Tango project. Original artist: Benjamin D. Esham (bdesham)
File:Universiteit_Twente_Mesa_Plus_Escher_Object.jpg
Universiteit_Twente_Mesa_Plus_Escher_Object.jpg License:
Original artist: Berteun Damman (I self)
Source:
http://upload.wikimedia.org/wikipedia/commons/3/33/
Public domain Contributors: Made with a Minolta DImage G600
File:WPVA-khamsa.svg Source: http://upload.wikimedia.org/wikipedia/commons/c/cd/WPVA-khamsa.svg License: CC BY 3.0 Contributors: Vectorized version of Image:WPVA-khamsa.png by User:Sparkit Original artist:
rst version Flu
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36.4.3
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M. C. Escher

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M. C. Escher

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Contents

Another World (M. C. Escher)

Ascending and Descending

Atrani, Coast of Amal

Belvedere (M. C. Escher)

The Bridge (M. C. Escher)

Castrovalva (M. C. Escher)

Circle Limit III

Convex and Concave

10 Cube with Magic Ribbons

11.2 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 Dolphins (M. C. Escher)

14.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15 Hand with Reecting Sphere

15.1 Popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15.2 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

17.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

19.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

21 Print Gallery (M. C. Escher)

21.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 Puddle (M. C. Escher)

22.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

23 Regular Division of the Plane

23.2 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24 Relativity (M. C. Escher)

25 Reptiles (M. C. Escher)

25.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

25.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26 Sky and Water I

26.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

27 Sky and Water II

27.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28 Snakes (M. C. Escher)

28.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

29 Stars (M. C. Escher)

29.4 Related works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30 Still Life and Street

30.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

31 Still Life with Mirror

32.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34 Three Worlds (M. C. Escher)

34.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

35 Tower of Babel (M. C. Escher)

35.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

36 Waterfall (M. C. Escher)

36.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

36.4 Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . .

36.4.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1.2 Later life

Escher moved to the Rosa Spier Huis in Laren in 1970, an

Although Escher did not have mathematical training

Circle Limit III, 1959

In 1941, Escher summarized his ndings in a sketchbook,

similar to the concept of the Mbius strip.

works. In 1980, this holding was sold to an American art

A related entity, the M.C. Escher Foundation of Baarn,

Gdel, Escher, Bach by Douglas Hofstadter,[9] published

1.5 Selected works