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The way of the master
19 May 2018

The way of the master

In May 1937 Escher created Metamorphosis I, a narrative work in which the coastal town of Atrani slowly changes into a grid of cubes which subsequently transform into the shape of a caricatured Asian figure. If Atrani stands for the past in this print, the hooded Asian figure could be seen as the future. Thinking this through, the analogy of Escher’s life with that of an old martial arts master becomes an interesting one.

M.C. Escher, Metamorphosis I, woodcut, printed on two sheets, May 1937

M.C. Escher, Metamorphosis I, woodcut, printed on two sheets, May 1937

Metamorphosis I (detail)

Metamorphosis I (detail)

Escher started his training as a young man close to where he lived. Then he left for a faraway land, Italy in this case. There he studied and practiced hard on his skills. When he returned to his native country, he had become a master. He could do stuff nobody else can, in Escher’s case this being ultimate control over the graphic arts. The martial arts were an unknown phenomenon to Escher. The big difference with a martial arts master is that the latter usually would pass on their skills by starting a school. There they would teach their students so they could learn kung fu, karate, aikido, etc. Escher never had any pupils.

A young Bruce Lee with Kung Fu grandmaster Yip Man

A young Bruce Lee with Kung Fu grandmaster Yip Man

Student and teacher in the movie The 36th Chamber of Shaolin (1978)

Student and teacher in the movie The 36th Chamber of Shaolin (1978)

Pai Mei, teacher to The Bride (Uma Thurman) in Kill Bill Vol. 1

Pai Mei, teacher to The Bride (Uma Thurman) in Kill Bill Vol. 1

David Carradine as Caine in the American television series Kung Fu (1972-1975)

David Carradine as Caine in the American television series Kung Fu (1972-1975)

Erik Kersten

Erik Kersten

Editor

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Mother's Day 2018

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There is no better way to celebrate Mother’s Day than with a photo of a happy mother. Maurits created this portrait of his wife Jetta and their firstborn son George in the spring of 1927. The couple had just moved to their house on Via Alessandro Poerio in Rome. In the background the majolica tiles can be seen, which Escher designed for the hallway and the dining room. George (nicknamed ‘Jojo‘) had been born the summer before and, after living in several temporary houses, the young family were finally able to call this house their home. This happiness led to a second son in December 1928 and a third one in March 1938.
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Self-portrait in Spherical Mirror, 1950

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There is probably no artist who pictured himself as often as Rembrandt van Rijn did. About 40 of his self-portraits are known. But Escher too was no stranger to self-portraits. Between 1917 and 1950 he produced 12 of them, several while being reflected in a spherical mirror. Looking in the mirror he pictures his own image, the way he sees it, but also the way he wants it to be seen. Like all works, a self-portrait is based on reality, a perspective on this reality. That is particularly the case with Escher. The viewer wants to see the artist, but has to deal with the version the artist wishes to present of himself at that particular point in time.