A remarkable self-portrait by Rembrandt will be on display at our museum from 29 November until 29 January. It is a self-portrait with a stormy history, disappearing off the radar for many years and now returning to the place where it hung for a long time in the nineteenth century. This painting can be seen in the royal ballroom of the palace, amid M.C. Escher's prints. Despite the obvious link between this self-portrait by Rembrandt and Lange Voorhout Palace, there also appear to be undeniable connections between Rembrandt and Escher.

2022 has come to an end and it has been another special and unforgettable year. These days, we look back on all the wonderful things we have been able to organise this year. No fewer than four temporary exhibitions have been held in the museum, in addition to the permanent presentation of Escher's art!
We also aimed to share as many stories as possible about Escher's life and art with you through our social media channels, our website and the in-depth articles we wrote. All of the wonderful images that we have shared this year can be found in this special end-of-year animation. We thank everyone for their attention and support over the past year and hope to inspire you again in the Escher anniversary year 2023 with our stories and images!

In October 1952, M.C. Escher created a series of woodcuts on the subject of the four elements. It was a commissioned work for collector and graphic art fanatic Eugène Strens and his wife Willy. Eugène Strens (1899 - 1980) was trained as an engineer, but his great passion was graphic art.

In general, mirrors reflect reality, but in the world of art, different laws apply. Certainly in the world of Maurits Cornelis Escher. Here, nothing is what it seems. His prints are instantly recognisable, but the man behind them was something of an enigma. He looks at you in mirror prints such as Hand with Reflecting Sphere or Three Spheres II. Confident, empathic. But also composed and perhaps even a little mocking.

To create confusion. That was what God had in mind when he made the people who were building a tower to heaven all speak different languages. In no time at all, it was chaos, and the construction was stopped immediately. For if you can no longer talk to each other, how can you continue to build together at such a height?

It was a fact of life for Escher that his health deteriorated during the late 1960s. He struggled with it his entire life, but this particular decade was a succession of good and bad spells. During the good spells, he was alert and active; during the bad ones, poor health dominated his life. In the spring of 1969 he had a good spell again and he filled his time with a number of lectures, produced 40 prints of Day and Night (although he thought that this was a waste of his precious time) and devised and created a new print.
It was working on something new that made him especially happy. In a letter to his son George, he wrote that he was 'wild with excitement' about Snakes. In the winter of 1967/1968, he had extended his Metamorphosis II to Metamorphosis III, but the last new print preceding it originated from autumn 1966. He therefore devoted himself wholeheartedly to this new stream of creativity, despite being afflicted by poor health. The development process took a great deal of energy, and he often had to stop work in order to take a break.

In December 1958 and January 1959, Escher worked on a new print that he intended to display at an exhibition in Museum Boymans in February. Adopting the group name Vier Grafici (‘Four Graphic Artists’), he was exhibiting with Harry van Kruiningen, Wout van Heusden and Harry Disberg. A company he had been in before. He wrote about the print in a letter to his son George and his wife Corrie:

"After a week of endless dispiration, I again find myself exploring tetrahedral and octahedral space: caves and caverns, wondrous pillars, abysses and vistas, all rigorously four-sided and eight-sided. My plan now is to finally have the cross-eyed flatworm I love swim in it."

2021 has come to an end and it has been another special and unforgettable year. We look back on all the wonderful things we have been able to organise this year. No fewer than four temporary exhibitions have been held in the museum, in addition to the permanent presentation of Escher's art!
All of the wonderful images about our exhibitions, activities and the in-depth articles on our website can be seen in this special end-of-year animation. We thank everyone for their attention and support over the past year and hope to inspire you again in 2022 with our stories and artworks!

In November 1929, Escher produced a print that for once was not the direct result of a journey he had made that spring. From 1925 to 1936, he followed a fixed pattern of travelling through Italy in the spring, to the Abruzzi, Sicily, Calabria or the Amalfi Coast. In the first few years, places around his home town of Rome or in the nearby province of Viterbo were added. He also travelled to Corsica and Spain. In the autumn and winter following these trips, he fleshed out his sketches and photos into prints. But in May 1926, things were different.

On 2 July 1965, journalist, poet, critic and essayist G.H. 's-Gravesande, known by his nickname Hein, died. Although Escher and Hein had been friends for over 30 years, the artist did not attend the cremation. He was engrossed in working on the print Knots, a subject in which he had become completely absorbed. This would hardly have surprised 's-Gravesande. He published several articles and a booklet on the man whom he also greatly admired as an artist. Hein 's-Gravesande was one of the first critics to pay serious attention to the work of M.C. Escher, and the graphic artist owes much to him.