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Summer in Positano
4 August 2018

Summer in Positano

Summer is in full swing. Now is not the time to be working hard. That is something for autumn, winter and early spring. At least, that was the timetable to which Escher largely adhered throughout his working life. If you look at the months he worked (these are known from 1922 onwards), they usually span from September to May. It is a logical consequence of his approach; in spring and summer he went out to get inspiration, to take photos and to draw. In autumn and in winter he developed these preliminary studies into woodcuts, wood engravings and lithographs.

M.C Escher, (Old) Houses in Positano, lithograph, August 1934

M.C Escher, (Old) Houses in Positano, lithograph, August 1934

Nevertheless, there are a few exceptions to this rule. 43 exceptions to be precise. Life and work of M.C. Escher, under the editorship of J.L. Locher, is the standard work about the artist in which 448 works are defined. Linoleum cuts, woodcuts, wood engravings, lithographs and mezzotints. No drawings—these are kept beyond the scope of this catalogue. Hence around 10% of all Escher’s work was produced in the summer months. Autumn, winter and spring each account for approximately 30%. Not an exact investigation.

These ‘summer works’ include early Italian landscapes, a number of works from the war years (when Escher was unable to travel), a genuinely ‘summery’ work like Phosphorescent Sea as well as some of his most famous works. Verbum, Balcony, Horseman, Up and Down, Relativity, Plane Filling II, Sphere Surface with Fish, Circle Limit IV (Heaven and Hell) and Snakes were all produced in July. August is less well represented. It seems this month for Escher really was holiday month.

Maurits photographs Jetta in Positano's 'Piccola Marina',  May 1934

Maurits photographs Jetta in Positano's 'Piccola Marina', May 1934

One of the August works is (Old) Houses in Positano, from 1934. In May and June, Maurits and Jetta had made another trip to the Amalfi coast from their home in busy Rome. They had been married for 10 years and were visiting places where they had been together before. One of these was Positano. In the lithograph he produced of the coastal town, the typical white-plastered vertical houses can be seen with stairs and so-called ‘bread roll roofs’ that were then common in central and southern Italy. Escher wrote about this in a letter from 1969:

'When it comes to architecture, in my prints I have been strongly influenced by southern Italian buildings, where Norman, Romanesque, Saracen and Moorish influences can often be distinguished. I am fond of “bread roll” domes and flat, whitewashed roofs and plastered walls (see Dream, Cycle, Print Gallery, Belvedere, Ascending and Descending, Waterfall). Almost all these elements I saw on the Amalfi coast (Positano, Amalfi, Atrani, Maiori, Minori, Ravello). My prints exude a form of nostalgia.'*

What is special about the lithograph (Old) Houses in Positano is the way in which Escher isolates the group of houses and rocks from their setting. He leaves out all context, leaving the image appearing to float, which in fact gives rise to an impossible shape. He had used the bread roll roofs before, including in Atrani, but this was the first time he had positioned his subject so starkly on the virgin paper.

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Some examples of 'bread roll roofs'

M.C. Escher, Atrani, Amalfi coast, lithography, August 1931

M.C. Escher, Atrani, Amalfi coast, lithography, August 1931

M.C. Escher, Cycle, lithograph, May 1938

M.C. Escher, Cycle, lithograph, May 1938

M. C. Escher, Print Gallery, lithograph, May 1956

M. C. Escher, Print Gallery, lithograph, May 1956

M.C. Escher, Belvedere, lithograph, May 1958

M.C. Escher, Belvedere, lithograph, May 1958

M.C. Escher, Ascending and Descending, lithograph, March 1960

M.C. Escher, Ascending and Descending, lithograph, March 1960

M.C. Escher, Waterfall, lithograph, October 1961

M.C. Escher, Waterfall, lithograph, October 1961

Erik Kersten

Erik Kersten

Editor

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Bach's canon

Bach's canon

It is 268 years ago today that Johann Sebastian Bach died. On 28 July 1750 the German composer breathed his last breath in Leipzig. Maurits Cornelis Escher was a big fan. The similarities between them were considerable: the mathematical order, the strictness of the rules, the symmetry, the systematic approach. Escher was particularly fascinated by Bach’s canon. In a letter to his friend Hein ’s-Gravezande in 1940, he wrote:
'Now, I should like to say something else to you about the connection with music, primarily that of Bach, i.e. the Fugue or, put more simply, the canon. I loved Bach and I love him too without “understanding” his technique, but since I understand a (little) bit of it, I love it all the more.'
Escher's palm trees

Escher's palm trees

It is a tropical summer in the Netherlands and what could be more tropical than a palm tree? Certainly, Maurits Cornelis Escher saw something very special in this iconic tree. He was never specific about what he saw, but it is striking how often it recurs in his work. The first of these was created in July 1923 — a stylised palm tree with fronds like parasols, hanging bunches of palm fruits, the scaly trunk and a halo that seems to surround the tree.
A trip to France with Jan, 1950

A trip to France with Jan, 1950

On 17 July 1950, Maurits and his youngest son Jan (11 years old) left for Paris, the beginning of a French trip just like the one he had made as a child.
'One hour before arriving in Paris, Jan said: you have to let me know as soon as you see the Eiffel Tower. But in the end he saw it before I did.'
Eldest son Arthur had moved to Lausanne to study geology on the advice of uncle Beer. George had recently enlisted for military service. On this, Escher wrote:
'George has been doing his military service for two weeks now, much to our chagrin, after years of delaying his studies. This is lousy, because you never know whether such a boy will later find the energy to continue studying. [This fear proved to be unfounded.] So we are here with Jantje who, still in primary school, will not be leaving us any time soon. '