![]() ![]() “A plane, which one must imagine as extending without boundaries in all directions can be filled or divided into infinity, according to a limited number of systems, with various and increasingly complex geometric figures that are contiguous on all sides without leaving empty spaces. In an article penned in 1947 for Phoenix, Monthly Journal of the Visual Arts, as well as in subsequent writings, Escher almost verbatim copies Haag’s definition when describing his tessellations: Haag in 1923, constitute the evolutionary breakthrough in the tessellated art of M.C. 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 the Professor F. “Elsewhere in this paper, I shall explain why I believe that my mathematical study of these ornaments may also be of artistic interest.”Īccording to Dr. ![]() The article’s closing sentence is to make a lasting impression on Escher: Suspecting that Escher might be interested in the latest developments in crystallography, Beer sends his younger brother a short bibliography, including an article written by the Hungarian scientist George Pólya defining the 17 plane symmetry groups. Beer reacts enthusiastically to what he sees. (Beer) Escher, a professor of geology at the University of Leiden and a specialist in crystallography. Later that same year, he shows this print and some of his sketchbook drawings to his half-brother B.G. Here, he depicts the transition of the small Italian town of Atrani via geometrically rigid patterns of cubes to a freestanding figure. Escher, Metamorphosis I, woodcut, printed on two sheets, May 1937 A year later, Escher incorporates the first tessellation as a narrative element in the woodcut Metamorphosis I. In both places, they copy sections of the mosaics found on walls and ceilings and the upper sections of the Mezquita in Córdoba. ![]() They travel the length and breadth of Spain and make a return visit to the Moorish palace of Alhambra in Granada and the Mezquita, the great former mosque of Córdoba. In 1936, Escher and his wife Jetta journey by boat along the coasts of Italy and France to Spain. This is probably also the reason why most people mistakenly believe that his interest in tessellations only began in 1935, the year that the Escher family leaves Italy. He spends the next thirteen years living and working in Italy, and – with a few exceptions – devotes little attention to tessellations. Fourteen years later, things are very different. In the Alhambra, the Moorish citadel and palace in the Spanish city of Granada, he copies a single mosaic wall tile, only one of the many decorative mosaics that adorn the building. ![]() Escher, Eight Heads, woodcut, printed once from the whole block and eight times from different parts, January, February or March 1922 ![]()
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