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Birds welcoming Spring
20 March 2018

Birds welcoming Spring

The weather in the Netherlands is not really cooperating, but it is true: today marks the beginning of spring!

A common feature in Escher’s work is birds. He created hundreds of them, in his woodcuts, wood engravings and occasionally in a lithograph. Sometimes by themselves, but usually in a group. Most often he used them in his tessellations, which are heavily populated by birds.

M.C. Escher, Regular Division of the Plane with Birds, wood engraving, April 1949

M.C. Escher, Regular Division of the Plane with Birds, wood engraving, April 1949

These tessellations with birds appear mostly in his sketchbooks with regular division drawings, but Escher used them in his prints too. Like in this wood engraving from April 1949. First he created a repeating pattern of six interlocking birds, three white ones and three black ones. In a bigger tessellation he repeated this pattern six times, creating a tessellation of 36 birds. Then he stopped. In his sketchbooks he would fill the page with a never-ending pattern, but for this wood engraving, he deemed a sixfold repetition sufficient. This creates a wonderful residual shape that invites viewers to add countless birds in their own minds. So many that spring will surely come now!

M.C. Escher, Plane-filling Motif with Birds, wood engraving, April 1949

M.C. Escher, Plane-filling Motif with Birds, wood engraving, April 1949

M.C. Escher, Regular Division of the Plane with Birds, wood engraving, April 1949 (clarification of the pattern)

M.C. Escher, Regular Division of the Plane with Birds, wood engraving, April 1949 (clarification of the pattern)

M.C. Escher, Regular division drawing no. 71, April 1948

M.C. Escher, Regular division drawing no. 71, April 1948

Erik Kersten

Erik Kersten

Editor

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More Escher today

Ascending and Descending

Ascending and Descending

On 18 March 1960 Escher finished one of his most iconic works: the lithograph Ascending and Descending. The print was the result of a remarkable exchange of ideas between the graphic artist and the British mathematician Roger Penrose. The latter first came into contact with M.C. Escher at his solo exhibition in the Stedelijk Museum in Amsterdam in 1954, which was held during the International Congress of Mathematicians of that year.
Albert Bosman and Bruno Ernst

Albert Bosman and Bruno Ernst

Today is the start of ‘Boekenweek’ (Book Week), a nice occasion to highlight an artwork that is increasingly rare: a bookplate. Escher created several of them, mostly for friends. The first one when he was only 17, for his own library. The one you see here, from 1946, was for his opposite neighbour in Baarn, engineer Albert Ernst Bosman. He must have been a bookworm, looking at the one Escher pictured in this bookplate. He did not know it yet but this neighbour would be of great significance to him. Bosman was the one to bring him in contact with Hans de Rijk, the man of many pseudonyms.
Cultural Prize of Hilversum, 1965

Cultural Prize of Hilversum, 1965

On 5 March 1965 Escher received the culture prize of the city of Hilversum. He gave a lecture in which he demonstrated once again how funny he could be. For many people the name Escher calls to mind an image of a bearded, strict, precise man labouring away on mind-boggling prints in the isolation of his study. This image existed in his own time too and is one that Escher initially endorses in his lecture:
'By nature I am not spontaneous. Creating a graphic print demands patience and deliberateness and the ideas that I want to express in it usually come to life after careful consideration. Therefore, I mostly spend my time in a quiet studio and, however beneficial it might be to practicing my profession, it does not foster eloquence.'