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Research Paper Final Gwic
Research Paper Final Gwic
Throughout time, art has been the epitome of social class and society. The
richest leaders throughout the world would have the best artists paint masterpieces
which would prove to be timeless artifacts. The Renaissance and many other influential
periods had revolutionary ideas which would set the stage and foundation for many
other artists inspiration. Many dabbled in various perspectives, different styles and
different canvases in order to land their work in eternal glory. To be known well after
death, that is what an artist aspires to have happen. One technique and style that has
proven to outlast many others is sequences throughout a piece and various forms of
tessellations. The MC Escher GWIC course covers many types of styles that Escher
worked with; tessellations and patterns being one he favored. His inspiration came from
the Alhambra, where he visited multiple times to draw this inspiration and revitalize his
styles during artistic lulls. These visits would prove to be vital in his career as many of
the inspirations he drew from Alhambra were translated into his own works. Throughout
ancient civilizations and modern pop culture, patterns/sequences/tessellations
throughout artworks will always remain relevant whether they are appreciated or not by
Not only did Escher master incorporating tessellations in his works, he also
utilized impossible sequences which were aesthetically pleasing but mathematically and
were some of his greatest works and stimulated the minds of all who behold these
works. Not only did these paintings defy the laws of physics, they were always perfect
pieces. Dimensions being drawn to scale and proportionate to make the vision work but
also allow individual perspective to take over while viewing the wacky and distinct
work interpretive and stand out so each personality saw particular aspects and are
drawn to various portions on the works. For example, in Relativity, some are drawn to
the people walking upside down; some are drawn to contradictory stairs which
integrated gravity and dimension defying orientations. When you seem to follow the
proper bearings, Escher throws that element for a loop. The capabilities of Escher have
yet to be matched.
Early on in life, Maurits Cornelis Escher was not strong in academics, in fact he
hated school, the only upside was the two hours he received of art class weekly. He
struggled in a majority of his classes resulting in failed grades and low scores year after
year. His only gleam of hope was art, and his talents which many overlooked. He was
labeled as too tight, too literary-philosophical, a young man too lacking in feeling or
caprice, too little of an artist. (Ernst 11-12). After trying various forms of art and artistic
expression, he began forming his path in the art-world. He was more than mediocre in
woodcutting, which deals with precise angles and lines, perhaps lead to his future works
from the education he received during these lessons. His early works and self-portraits
along with his woodcutting shows his methodic lines and perfection in angles as well as
created in 1923 (Ernst 15), as to create a flow in the piece for aesthetics. It was around
1937 that Escher began painting his mathematical pieces that had patterns and
tessellations throughout. These flavors (Ernst 24) began taking form with the
development of his work. He began using spatial structures along with flat surfaces to
relationships between space and flat surfaces with his tessellations and patterns. After
spending years learning what he was proficient in and what he was not so keen on
helped him find his path and use these special patterns and sequences to display
One of Eschers best periods was his expansion and usage of tessellations in his
art. With contradicting colors and patterns as well as special sequences made his work
pop and stand out to viewers. Tessellations were around well before Escher even
Sumerians in early BC. The patterns would be used for building wall decorations in clay
tiles and decorative mosaic tilings all encapsulated these perfect geometric patterns.
A tessellation is any pattern made of repeating shapes that covers a surface completely
squares. The squares meet edge to edge with no gaps and no overlapping areas. The
pattern of bricks on a wall is a tessellation made of rectangles. Over 2,200 years ago,
ancient Greeks were decorating their homes with tessellations, making elaborate
mosaics from tiny, square tiles. Early Persian and Islamic artists also created
spectacular tessellating designs. More recently, the Dutch artist M. C. Escher used
Tessellation Works
Tessellation was further explored in 1619 when Johannes Kepler studied and
of isometries. He proved with these groupings that every periodic tiling of the plane
features one of the seventeen groupings. This discovery helped mathematical study of
tessellations explode worldwide, now that everything fit within a concise set of
groupings. MC Escher studied those previous efforts along with his visits to the
Patterns were not common in art during ancient times, patterns made up daily
used art to display religious figures and representations and interpretations of Gods.
Also to depict fabled stories and various other tales and folklore. Islamic art began
religious figures. A drawing of Mohammed would leave you possibly being executed.
So instead of displaying interpretations of what they believed God to be, they drew
various patterns and tessellations. The mindset was not on simple and intricate
Initial works can be traced back to the Sumerian civilization of early 4000 B.C.
Tessellations have been found in many of the artistic elements of cultures including the
Romans. The Islamic artwork consisted of only abstract geometrical works since the
representation of living objects were forbidden from artwork. While the Roman's artwork
explains why the Alhambra had no human incorporation throughout and only included
shapes rather than figures or living objects. Should an individual portray living things as
Some of Eschers best works that dealt with repetitive patterns and sequences
created incredible works that were revolutionary for the time. His works were some of
the most intricate and unique of his era, without any proper mathematical or physics.
Some of his famous works include; Metamorphosis I (1937), Day and Night (1938), Sky
and Water I (1938), Metamorphosis II (1940), Encounter (1944), and his final piece
Snakes (1969). His works regarding mathematical impossibilities and unique figures
include; Double Planetoid (1949), House of Stairs (1951), Gravity (1952), Relativity
(1953), his most intriguing Belvedere (1958), Ascending and Descending (1960).
Escher and Other Artists who use Tessellations and Sequences
Escher was without a doubt the King of Tessellations with his bountiful works
and his mastery of the art, but he is not the only artist to use this method. More recently
creates the images using mathematical formulas to depict perfect tessellated images,
utilizing both theory and certainty in mathematics along with artistic skills. Many other
individuals who worked with tessellations were focused more with the mathematical
aspect and not primarily on the artistic side like Escher. Islamic styled buildings in the
Middle East and portions of Europe created well before the works of Escher displayed
The Alhambra
A major influence on his future style and approach to his art was through his
visits to the Alhambra, in Spain. Escher loved the beauty of the Moorish culture with the
carved wood, and patterned tiles. No human figures were used, as portraits of man
were not to be used in art bigger than a notebook. Idolizing individuals was against the
cultures of Moors. Large rectangles with intricate patterns throughout were commonly
used in the major halls and corridors of the Alhambra. The techniques were derived
from the natural beauty surrounding the palace. The designs were taken from nature
i.e. flowers, trees, waterways, landscapes, etc. These natural elements played a huge
role in the creation of the artwork. Mimicking the elegance and free flowing of the
nature in which this architectural structure was constructed in the middle of, a sense of
the world is displayed throughout the halls of the building. Escher took these works,
and these techniques and studies to good use creating impossibilities in his artwork
while incorporating natural ideas and entities. Though his initial visit was a mere
sightseeing venture, Escher returned with a new profound vision for his pathway in art.
After frequent travels around the world to various art capitals, he returned to the
Alhambra spending days at a time drawing the mosaic patterns. He studied these
tessellations and patterns becoming fascinated and obsessed with the mathematical
perfection of the images. Though not mathematically proficient, Eschers works have
been the highlight of mathematical studies and exploration. Along with the introduction
of nature and a worldly landscape from the Alhambras interior, Eschers inspirations
Escher derived the concept of tessellations from visiting the Alhambra in 1922 for
the first time. There, MC met de Mesquita and he soon became Eschers mentor and
guided him through the art world. Escher visited the Alhambra again in 1936 for
inspiration, where he began exploring colors throughout his tessellated patterns, adding
what would be another dimension to the pieces. He would use different colors in his
The usage of pattern in art has never taken the focus of the whole piece but as a
solid backdrop to more important figure. Through the Alhambra and many of Eschers
works, patterns began taking shape as the art itself. Patterns and the mathematical
impossibilities Escher created from his studies began exploration in new fields.
Unfortunately, the art community did not appreciate the works and disregarded him as
a peer. His works began gaining recognition upon the discovery by the physics and
math community, which grew to worldwide recognition. The Hippie movement and the
era of free thinking created a support for Eschers works which were comprised of
tessellated figures and physically impossible, yet aesthetically pleasing designs.
Eschers works may not have been traditional art but his works have substance in
in his works.
Bibliography:
Ernst, Bruno, and M. C. Escher. The Magic Mirror of M.C. Escher. N.p.: Taschen,
2015. Print
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http://edtech2.boisestate.edu/meganhoopesmyers/502/virtualtour/history.html
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