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Fish and birds experiments
18 November 2017

Fish and birds experiments

Although he was fascinated by the concept of the regular division of the plane even early on in his career, it was not until 1936 that Escher tackled it in earnest. A period ensued in which he performed countless experiments with ways of filling a plane with patterns of geometric shapes. He did this in the form of drawings which he did in a notebook with a view to mastering the research process.

M.C. Escher, Regelmatige vlakverdeling met vliegende vissen en vogels, nr. 80, Oostindische inkt, potlood, dekkend wit, november 1950

M.C. Escher, Regelmatige vlakverdeling met vliegende vissen en vogels, nr. 80, Oostindische inkt, potlood, dekkend wit, november 1950

In this process (and this embodies Escher’s virtuosity) he managed to bend these geometric shapes into recognisable forms. Crudely at first, but as he got more adept at it, the fish, birds, lizards, beetles, butterflies, horses and other animals and shapes kept getting more refined. The drawings were a means of exploration, but he also drew ideas from it for new works or commercial assignments. They are numbered rather than entitled. In November 1950 he did this drawing, number 80. It is a combination of numbers 73 and 74 in which he shows how a shape can be both a bird and a fish. The drawing formed the basis of his lithograph Predestination.

M.C. Escher, Predestination (Topsy-Turvy World), lithograph, January 1951

M.C. Escher, Predestination (Topsy-Turvy World), lithograph, January 1951

According to Dr Doris Schattschneider, an expert on Escher’s tessellations, Escher’s discovery of Pólya’s 17-plane symmetry groups, along with the definition of ‘the regular division of the plane’ in a paper written by Professor F. Haag in 1923, constitute the evolutionary breakthrough in the tessellated art of M.C. Escher. Read more about this connection in this story by former curator Micky Piller.

Eschers drawing of the most basic forms of tessellation

Eschers drawing of the most basic forms of tessellation

And his demonstration of the ways the plane can be filled by adapting forms by using 3 basic techniques: translation, rotation and glide reflection.

And his demonstration of the ways the plane can be filled by adapting forms by using 3 basic techniques: translation, rotation and glide reflection.

Another example from the notebooks.  Number 22, with fish and birds.

Another example from the notebooks. Number 22, with fish and birds.

Number 25 that precedes his lithograph Reptiles

Number 25 that precedes his lithograph Reptiles

Number 18 from which his famous Day and Night gets its birds.

Number 18 from which his famous Day and Night gets its birds.

M.C. Escher, Day and night, woodcut, february 1938

M.C. Escher, Day and night, woodcut, february 1938

Number 14 that precedes his woodcut Development I

Number 14 that precedes his woodcut Development I

Erik Kersten

Erik Kersten

Editor

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More Escher today

Lecture in Alkmaar, 1953

Lecture in Alkmaar, 1953

On 16 November 1953 Escher gave a lecture to the Friends of the Stedelijk Museum in Alkmaar, on the occasion of an exhibition of his work. During those years Escher had frequent opportunities to exhibit in museums, art galleries and universities, often together with two or more fellow members of the Association of Dutch Graphic Artists. He would usually accompany these exhibitions with a lecture on his own work.
First commercial endeavours

First commercial endeavours

At the end of 1933, Escher started to explore the possibilities of applying his work to commercial assignments. The first attempt was a design for wrapping paper. He hoped to sell it to a number of large department stores: de Bijenkorf, Gerzon, Zingone and Korall. Using their logos as motifs, he created several patterns that could be printed on wrapping paper. He also experimented with the names by making them interlock in playful ways. 
Whirlpools

Whirlpools

Early November 1957 Escher finished his woodcut and wood engraving Whirlpools. He used a new printing technique for it, cutting one block which he printed on the same piece of paper in two colours.