Third, Escher was fascinated by so-called “impossible constructions” or visual illusions such as the Necker cube and the Penrose triangle that take advantage of quirks of perception and perspective. Or in this piece, Day and Night, a whole landscape shifting: In his woodcut Sky and Water, for example, we see birds becoming fish/fish becoming birds. These transformations appear most clearly in Escher’s tessellation pieces. Second, Escher depicted in his work transformation/transmutations where we see one shape becoming another. We see tessellations in Escher works such as these: Honeycombs and interlocking pavement tiles are examples of tessellations.

Tessellations, by the way, are the composite result of geometric shapes that are repeated without overlaps or gaps. ( Which reminds me of an article on the advanced geometry of 12-century Islamic art.) Seeing the tile mosaics inspired Escher to use geometric grids as the basis for his art as a way of gaining precision. Let’s take a look.įirst, Escher incorporated tessellations into his work, a technique he picked up in his study of tile mosaics while visiting Alhambra, a Moorish palace in Spain in the early 1920s. Lately I’ve been thinking about what these qualities in Escher’s art have to offer those of us working in music (whether making it or writing about it).

Escher’s (1898-1972) drawings and woodcuts because of their precision, their order and symmetry, their use of repetition and optical illusions, and the way they seem to point towards what could be called the infinite. “Are you really sure that a floor can’t also be a ceiling?” “My work is a game, a very serious game.”

Mc escher tiling