Mc Escher How Did He Use Tessellations in His Art

One thousandaurits Cornelis Escher was an artist from kingdom of the netherlands who was known for incorporating mathematical equations into his lithographs and woodcuts. K. C. Escher's artworks were non that pop during his tenure as an creative person, fifty-fifty in his own country. Maurits Cornelis Escher would be lxx years of historic period before an exhibition of his life's work was held. M. C. Escher's paintings would only start to be fully appreciated in the 20th and 21st centuries.

Tabular array of Contents

• 1 An Introduction to Thou. C. Escher's Biography and Fine art
  • i.1 The Early Life of M. C. Escher
  • 1.ii Chiliad. C. Escher's Travel and Fine art
  • 1.iii The Later Life of M. C.  Escher
• two The Mathematically Inspired Artwork of M. C. Escher
  • ii.1 M. C. Escher's Tessellations
  • 2.2 Geometry in M. C. Escher's Artworks
  • 2.3 Studies of Ideal Solids
  • two.iv Explorations of Levels of Reality, Hyperbolic Geometry, and Infinity
• 3 The Legacy of Escher'south Paintings
  • three.i Exhibitions
  • 3.2 Scientific discipline and Mathematics
  • three.3 Popular Culture
• 4 Accomplishments of M. C. Escher
• 5 Famous Artworks
• half-dozen Further Reading
  • 6.i M. C. Escher: His Life and Complete Graphic Work by J. R. Kist (1992)
  • 6.2 The Magic Mirror of M. C. Escher by Bruno Ernst (1987)
• seven Frequently Asked Questions
  • 7.1 Why Is M. C. Escher's Art Renowned?
  • 7.2 What Kind of Art Did Chiliad. C. Escher Make?

An Introduction to 1000. C. Escher'south Biography and Art

Escher'southward drawings and paintings feature mathematically based concepts such as incommunicable objects, reflections on perspective, symmetry, and infinity, as well as Yard. C. Escher's tessellations. Despite believing that he had no real mathematical ability, he surrounded himself with highly educated people and was practiced in many fields of study. M. C. Escher'southward artworks are today appreciated by scientists and the general populace alike for both their aesthetic as well equally mathematical explorations.

Photograph of M. C. Escher, 1971;Photographer: Hans Peters (ANEFO), CC0, via Wikimedia Eatables

The Early Life of M. C. Escher

On the 17th of June in 1898, Chiliad. C. Escher was born in Leeuwarden, a town in the Netherlands. Escher was the youngest child of structural builder Sarah and George Escher.  The family relocated to Arnhem in 1903, where immature Escher attended unproblematic and high schools until 1918. He was a frail youngster who was put in a private schoolhouse at seven years of age, and he flunked the 2d grade. He was referred to past his friends equally "Mauk."

His scores were frequently bad, despite the fact that he shone in sketching.

He studied woodworking and music until he was 13 years of age. Escher enrolled at the Delft Technical College in 1918. He studied art and woodcutting at the Haarlem School of Architecture and Decorative Arts starting in 1919 until 1922. He momentarily pursued compages, but after failing a series of classes (due in part to a prolonged peel ailment), he transferred to ornamental arts, where he trained under visual designer Samuel Jessurun de Mesquita.

Early self-portrait of Samuel Jessurun de Mesquita, 1900;Jewish Historical Museum, Public domain, via Wikimedia Eatables

Thousand. C. Escher's Travel and Art

Escher traveled around Italy in 1922, a key year in his life, touring Florence, Volterra, San Gimignano, Siena, and Ravello. During the aforementioned catamenia, he visited Toledo, Madrid, and Granada in Spain. The Italian mural astounded him, as did the Moorish magnificence of Granada'due south 14th century Alhambra.

The exquisite creative motifs of the Alhambra, which are based on mathematical symmetry and include interconnecting repeated motifs in the colored tiles or carved into the ceilings and walls, sparked his fascination with the principles of tessellation and had a significant outcome on Escher's paintings.

From 1923 through 1935, he returned to Italy and stayed in Rome. While in Italy, Escher met a Swiss lady named Jetta Umiker who, like him, was drawn to Italy, and they married in 1924. The pair relocated to Rome, where their offset son, Giorgio Arnaldo Escher, was born. Escher and Jetta went on to have two boosted sons, January and Arthur. He traveled much, and the landscape and townscapes of his travels appear heavily in Escher'southward drawings, such as Still Life and Street (1937).

Escher returned to Kingdom of spain in June, visiting the Alhambra and spent days at a time doing meticulous sketches of its mosaic designs. It was here that he got obsessed with tessellation, describing it as "an extraordinarily consuming occupation, a true passion to which I have grown hooked, and from which I occasionally find it difficult to depict myself from."

The images he produced in the Alhambra became a central source of inspiration for Yard. C. Escher'south artworks from then on.

He also examined the compages of Cordoba's Mezquita, a Moorish mosque. This was to exist his concluding extensive research tour; afterward 1937, his works were fabricated in his studio instead of in the outdoors. His painting shifted dramatically from being mostly empirical, with a heavy emphasis on the actual aspects of things observed in the city and countryside, to becoming the effect of his geometric calculation and aesthetic inventiveness, such every bit in his artwork 24-hour interval and Night (1938). Nevertheless, his early on work demonstrates marvel in the construction of space, the odd, viewpoint, and various perspectives.

The Later Life of Chiliad. C.  Escher

Escher felt dissatisfied with the political situation in Italy beneath Mussolini in 1935. He had little enthusiasm for politics and institute it difficult to be involved with whatever principles other than the representations of his own views via his own art, although he was opposed to extremism and dishonesty. When George, his eldest son, was obliged to wear a Ballila outfit to schoolhouse-aged only nine, the family left Italy and traveled to Switzerland, where they stayed for two years.

In 1935, the netherlands Mail service Office commissioned Escher to create a postal postage for the "Air Funds," and then again in 1949, he created Dutch stamps.

1949 World Postal Matrimony Jubilee stamps depicting a g lobe with intertwined post horns, designed by M. C. Escher; Wouter Hagens, Public domain, via Wikimedia Commons

Escher, who had been influenced and fascinated by the vistas of Italian republic, felt dissatisfied in Switzerland. The family relocated to Uccle, Belgium, in 1937. In January of 1941, World War II compelled them to relocate, this time to Baarn in the Netherlands, where Escher stayed until 1970. The majority of Escher's best-known paintings were created during this fourth dimension period, such as Relativity (1953) and Bond of Union (1956). The weather in kingdom of the netherlands, which was occasionally overcast, chilly, and damp, helped him to concentrate on his task.

Escher taught extensively later 1953.

A scheduled program of seminars in North America in 1962 was canceled due to sickness, and he temporarily ceased making works, but the pictures and material for the courses were ultimately released equally function of the volume Escher on Escher (1986). In July 1969, he completed his terminal piece, Snakes (1969), a massive woodcut with triple spherical symmetry in which snakes meander through a network of continued rings. These diminish to infinity as they arroyo the middle and border of a circle.

It was extremely detailed, being produced using three blocks, all rotated three times around the picture's heart and carefully positioned to eliminate gaps and overlapping, for a maximum of nine impress processes for each final impress. Escher's appreciation of geometry, interconnecting designs, and, toward the end of his lifetime, his quest to eternity are all encapsulated in his artwork such as Metamorphosis Iii (1968). A video clip shows Escher's attention to particular in developing and manufacturing this woodcut. In 1970, Escher relocated to the Rosa Spier Huis in Laren, an artists' elderly community with his own workshop. He died on the 27th of March in1972, at the historic period of 73, at a clinic in Hilversum. He was laid to rest in Baarn'southward New Cemetery.

The Mathematically Inspired Artwork of M. C. Escher

M. C. Escher's artwork is inextricably linked to mathematics. This has resulted in a schism betwixt his outright public success and the lack of reverence with which he has been regarded in the world of art. His creativity and skill of graphic methods are admired, although his works accept been criticized for beingness excessively academic and lacking in lyricism.

To some extent, genres such as visual fine art have altered the art world's mental attitude toward intellectuality and poetry, but this did not redeem Escher because conventional critics nonetheless despised his storytelling elements and utilize of viewpoint.

However, these same characteristics made his art extremely highly-seasoned to the general people.

Escher is hardly the first painter to study mathematically based topics; Parmigianino studied the reflection and geometry of spheres in his Cocky-portrait in a Convex Mirror (1524), displaying his own image in a curved mirror.

Self-portrait in a Convex Mirror (1523-1524) past Parmigianino;Parmigianino, Public domain, via Wikimedia Commons

Simply with 20th-century styles like De Stijl, Cubism, Dadaism, and Surrealism did popular art brainstorm to investigate Escher-like methods of viewing the world from several perspectives at the same fourth dimension. Nevertheless, although having much in connexion with, say, Magritte'due south surrealism, Escher did non collaborate with any of these groups.

Chiliad. C. Escher's Tessellations

Escher began his career by sketching sceneries and wild animals. In addition, he drew insects including bees, ants, locusts, and mantises, which showed often in his later career. His early adoration of Italian and Roman landscapes, as well every bit the natural order, sparked a curiosity in tessellation, which he dubbed "Regular Division of the Plane".

This would become the title of his volume published in 1958, which included renderings of a sequence of woodcuts premised on tessellations of the plane, in which he defined the methodical accumulation of numerical models in his works of art.

"Academics have unlocked the door leading to a broad realm," he stated.

After sketching the Moorish buildings and tessellated tile patterns at the La Mezquita in 1936, He began to study the qualities and potential of tessellation using geometrical matrices every bit the foundation for Escher'south drawings. He then used these to create complicated interconnecting patterns with creatures such as reptiles, fish, and birds. His Written report of Regular Division of the Plane with Reptiles (1939), built on a geometric matrix, was among his earlier efforts at tessellation. The heads of the white, green, and red reptiles meet at a vertex, and the creatures' sides, limbs, and tails perfectly intertwine. Information technology served equally the inspiration for his Reptiles (1943).

His initial foray into maths began with articles on planar symmetrical groupings by George Pólya, which were provided to Escher by his scientist brother Berend. He meticulously researched the 17 classical wallpaper groups and designed regular tilings with 43 drawings of various sorts of symmetries.

From then on, he used his own language to build a mathematical technique to manifestations of symmetry in his paintings. He began making woodcuts based on the 17 groupings in 1937. His Metamorphosis I (1937) was the showtime of a sequence of works that used visuals to tell a narrative. He created a human theme by transforming convex polygons into periodic motifs in a grid in Metamorphosis I.

Geometry in M. C. Escher's Artworks

Although Escher had no formal mathematical groundwork, his grasp of mathematics was mostly pictorial and instinctive, and some of the realms he created were based on impossible items. Escher began painting vistas in Corsica and Italy with uneven viewpoints that are unachievable in natural shape around 1924. Still Life and Street (1937) would be his showtime impress of an unreal surroundings; impractical staircases and numerous visual and gravitational viewpoints announced in pop pieces such as Relativity (1953).

House of Stairs (1951) piqued the curiosity of Roger Penrose, a mathematician, and his father, a biologist named Lionel Penrose. They produced a dissertation titled Impossible Objects: A Special Type of Visual Illusion (1956) and later provided a copy to Escher. Escher responded, complimenting the Penroses' ever-rising flights of stairs, and enclosing a print of Ascending and Descending (1960).

The tribar, which Escher utilized often in his print of a skyscraper that seemingly functions as a perpetual motility engine, Waterfall (1961), was as well included on the folio. In 1935, Escher was inspired past Hieronymus Bosch'due south The Garden of Earthly Delights (1500) to create a portion of its correct side, Hades, as a print. With his lithograph Belvedere (1958), he repeated the figure of a Medieval lady in a 2-pointed headpiece and a flowing robe; the movie, like so many of his other "astonishing created settings," is populated with "tricksters, scoundrels, and philosophers."

Thus, Escher was not only engaged in inconceivable or unattainable geometry, only he was too a "realism fanatic," combining "formal amazement with a visceral and distinctive vision," in his own description.

Escher more often than not worked with woodcuts and lithographs, but the niggling mezzotints he created are regarded classics of the medium. He depicted mathematical correlations between forms, characters, and environment in his graphic work. Mirror images of cylinders, orbs, squares, circles, and swirls were included in his works.

Ambigram tessellation showing the name "Escher" right side up and upside down using negative space. 180° rotational symmetry. M. C. Escher'south work features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, and tessellations; Basile Morin, CC BY-SA 4.0, via Wikimedia Commons

Escher was also captivated by mathematical structures with only one surface, such as the Möbius strip. His wood etching Möbius Strip II (1963) portrays a line of ants moving endlessly over what announced to be the object'due south two opposed faces at any given time—which, upon closer scrutiny, are shown to be portions of the strip'southward continuous edge. In the words of Thou. C. Escher, "an infinite ring-shaped ring oftentimes contains two carve up surfaces, ane within and one without. On this strip, yet, nine ants motion after one another and traverse both the top and back sides. As a issue, the strip has simply one surface."

After 1936, when he courageously asked the Adria Shipping Visitor if he could travel with them equally a traveling painter in commutation for making sketches of their boats, they surprisingly consented, and he traveled the Mediterranean, gaining involvement in symmetry and gild.

This voyage, particularly his return to the Alhambra, was regarded by Escher as "the greatest reservoir of creativity I have ever accessed." In some other instance of positive reciprocal interaction, Escher'southward fascination with curvilinear perspective was supported past his friend, the art historian, and creative person Albert Flocon. Along with Leonardo da Vinci, Wenzel Jamnitzer, Girard Desargues, Abraham Bosse, and Père Nicon, Flocon classified Escher as a "thoughtful creative". When Flocon read Escher's Graphics in Drawing (1959), he was enthralled.

The German language engraver of the 20th century, Albert Flocon;Unknown writer, CC BY-SA 4.0, via Wikimedia Commons

Studies of Ideal Solids

Escher ofttimes used iii-dimensional items in his works, including Platonic solids similar cubes, spheres, and tetrahedrons, also as mathematical structures similar stellated polyhedra and cylinders. He blended two- and three-dimensional imagery in the lithograph Reptiles. Escher underlined the relevance of dimensions in one of his publications:

"The surface frustrates me—I desire to tell my things, you're too faux, lying there adjacent to each other stagnant and frozen: do anything, get off the page, and show me what you lot're capable of! So I force them to exit the aeroplane. My things… may eventually return to the airplane and vanish into their original location."

Mathematicians like Doris Schattschneider appreciate Escher's utilization of geometric aberrations in his paintings. In one work, for example, creatures crawl over a stellated dodecahedron. The two towers of Waterfall's inconceivable skyscraper are capped by complex polyhedra, ane of which is a blended of triple cubes and the other is a stellated rhombic dodecahedron known every bit Escher's solid.

This solid appears in Escher's woodcut Stars (1948), which too includes all five Ideal solids and different stellated solids symbolizing stars; the center solid is moved by chameleons ascending through the framework equally it spins in space. Escher had a refracting telescope and was a knowledgeable enough hobbyist astronomer to have observed double stars.

Explorations of Levels of Reality, Hyperbolic Geometry, and Infinity

Escher'south creative expression was inspired by mental visions rather than real observations and excursions to other nations. Cartoon Hands (1948), which depicts two hands sketching each other, demonstrates his fascination with the numerous layers of realism in fine art.

Information technology's a nice portrayal of one of Escher'south long-standing interests: the juxtaposition between the two-dimensional uniformity of a piece of paper and the appearance of three-dimensional depth that certain markings might produce. The flat plane and space co-addiction Drawing Easily, each generated from and reverting to the other, the magic of creative illusions made weirdly palpable.

The International Congress of Mathematicians gathered in Amsterdam in 1954, and Due north. 1000. de Bruin prepared a testify of Escher's works for the attendees in the Stedelijk Museum. Escher'southward instinctive math struck  Roger Penrose. Penrose'southward tribar was motivated past Relativity, and his father created an unending stairway. Roger Penrose gave designs of these things to Escher, and the process of innovation was completed when Escher developed the Waterfall perpetual motion engine and the incessant march of the cleric people in Ascending and Descending.

Coxeter gained permission from Escher in 1957 to use 2 of his pictures in his work Crystal symmetry and its extensions. He forwarded a duplicate of the commodity to Escher, who noted that Coxeter's illustration of a hyperbolic tessellation "managed to deliver a rather surprising daze":

The unlimited routine recurrence of the motifs in the hyperbolic plane, expanding apace tinier towards the side of the circumvolve, was exactly what he was looking for to permit him to portray infinity on a two-dimensional surface.

Escher meticulously examined Coxeter's effigy, marking it up to examine the gradually smaller circles with which it was built (he reasoned). He then drew a schematic and submitted it to Coxeter to showroom his assessment; Coxeter verified it was correct, but surprised Escher with his extremely technical response. Nonetheless, Escher persevered with his use of hyperbolic tiling, which he dubbed "Coxetering." Circle Limit I–Iv (1959), a series of woods engravings, was amongst the outcomes. Coxeter revealed his discovery that these efforts were extremely verbal in 1959: "Escher got information technology perfectly right to the millimeter."

The Legacy of Escher's Paintings

Escher'southward unique mode of reasoning and rich drawings have had a long-lasting impact on maths, arts, and modern civilization. The National Gallery of Fine art (Washington, DC), the Escher Museum in The Hague, the Israel Museum, the National Gallery of Canada, and the Huis 10 Bosch are the principal institutional collections of M.C. Escher'southward original works.

The artist Maurits Cornelelius Escher working at his atelier; Pedro Ribeiro Simões from Lisboa, Portugal, CC BY 2.0, via Wikimedia Eatables

Exhibitions

Despite widespread popular attention, Escher was long overlooked in the earth of fine art; fifty-fifty in his dwelling Netherlands, he had to wait until he was 70 before a commemorative show was mounted. Major exhibits accept been organized in cities all around the world throughout the 21st century. In 2011, a prove of his fine art in Rio de Janeiro drew over 573,000 visitors; with a daily company total of nine,677, it was the nigh attended museum exhibit of the twelvemonth anywhere else in the globe.

At that place was no meaning showroom of his works in the UK until 2015 when the Scottish National Gallery of Mod Art hosted one in Edinburgh from June until September 2015.

The showroom banner is modeled on Escher'due south Paw with Reflecting Sphere (1935), which depicts the artist's concern in degrees of authenticity in artwork (e.chiliad., is the palm in the front more real than the mirrored one? ), viewpoint, and spherical mathematics. In 2015 and 2016, the show relocated to Italian republic, drawing over 500,000 people in Rome, Bologna, and later Milan.

Science and Mathematics

Doris Schattschneider names 11 lines of mathematics and scientific inquiry that Escher foresaw or directly influenced. These are the classifications of regular tilings based on tile edge connections:

• Color symmetry;
• Transformation or topological transform;
• Covering areas with symmetric designs;
• Escher's algorithm (for producing patterns utilizing embellished squares);
• Producing tile forms; local versus global interpretations of frequency;
• Uniformity of a tiling stimulated by tile symmetry;
• Orderliness is not stimulated past symmetry clusters.

Pop Culture

When Martin Gardner published Escher's works in his April 1966 edition of his Mathematical Games column in Scientific American, his reputation in mainstream civilisation soared. Many cover art feature Escher'southward paintings such as albums by The Scaffold's (1969), Mott the Hoople (1969), Beaver & Krause (1970), and Mandrake Memorial (1970). His painting has also appeared on several book covers. The "Globe of Escher" sells posters, bow ties, shirts, and puzzles with Escher'due south piece of work.

Postage stamp stamps honoring the painter and his artworks have been released in holland and Austria.

Accomplishments of Chiliad. C. Escher

Despite his lack of formal mathematics instruction, Escher possessed an instinctive and sophisticated knowledge of the subject. Many of his artworks were created using geometry, while others included mathematical structures. Furthermore, several of his prints serve as visual analogies for abstract notions, notably infinity, which Escher grew fascinated in subsequently in his piece of work. Throughout his lifetime, Escher stayed upward to date on new theories in the area and communicated with various famous mathematicians on interconnected and incommunicable designs, integrating their concepts immediately into his artwork.

An Escher-inspired ambigram showing his signature as a black and white text logo, with symmetry of 180 degrees;Basile Morin, CC BY-SA 4.0, via Wikimedia Commons

Escher emphasized the dilemma of depicting three-dimensional things on a two-dimensional plane, every bit shown in pictures like Cartoon Easily (1948), wherein palms (apparently simultaneously) participate in the contradictory process of creating each other into being. As a painter, Escher operated independently and was non linked with whatsoever arrangement, fifty-fifty Surrealism, which inspired his pictures.

His works influenced the development of Op Art, although he refused to be associated with the tendency, noting that "at that place are young folks who continuously come to inform me: you, too, are doing Op Fine art… Op Art, I do not have a clue what you're talking most." Escher used three unlike press methods: mezzotints, lithographs, and woodcuts. His circuitous and exact pictures took a long time to develop and required a nifty lot of expertise and paw dexterity.

Over the bridge of his threescore-year tenure, he created 448 prints, averaging only around eight per year.

Famous Artworks

If you take enjoyed this commodity, you might decide to explore the creative person's work farther. In order to brand this job easier, we have compiled a list of some of his most famous works. These works will give you lot a meliorate understanding of the artist's style and techniques.

• Relativity (1953)
• Drawing Hands (1948)
• Ascending and Descending (1960)
• Waterfall (1961)
• Reptiles (1943)
• Belvedere (1958)

Further Reading

M. C. Escher lived a fascinating life and created amazingly intricate artwork. All the same, at that place is merely so much one can cover in a single commodity. If y'all would similar to learn more about this particular artist, then nosotros tin recommend the following books to y'all:

Thousand. C. Escher: His Life and Complete Graphic Work by J. R. Kist (1992)

If you would like to get an in-depth understanding of the creative person's piece of work, and so you lot should try this volume by J. R. Kist. A detailed examination of Escher's distinctive visual investigation of time and infinite reproduces and extensively discusses all of the renowned visual designer's more than 450 works. This would brand a perfect Christmas or birthday souvenir for any lover of the arts!

• An annotated report of M. C. Escher's unique artworks
• More than 450 prints are reproduced and discussed
• Analyzing Escher's unique visual exploration of fourth dimension and space

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The Magic Mirror of M. C. Escher by Bruno Ernst (1987)

Escher drew parallels betwixt science and art. His work is a fascinating mix of fantasy and realism. He is about renowned for his 'incommunicable constructions,' works that combine mathematical mathematics, architecture, and perspectives to create a visual puzzle, but he also developed delicate and unique piece of work inspired past the Italian countryside. The majority of Escher's work was washed as prints – woodcuts or lithographs – and its appearance and subject affair were unusual in an historic period when abstract art was the norm. Observe more than near the artist in this revealing and interesting book.

• An explorative and in-depth expect at Dutch graphic artist 1000. C. Escher
• A unique investigation into the unknown details almost Escher's life
• Includes a greater focus on the early on life of this Tessellation artist

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To summarize this One thousand. C. Escher biography, we have discovered that by integrating difficult math with accurate draftsmanship and a sense for the odd, Escher blurred the lines betwixt science and art. His fine art is an intriguing blend of realism and imagination. He is well known for his "incommunicable structures", works that utilize mathematical geometry, architecture, and perspectives to create a visual puzzler, but he also created delicate and distinctive work inspired by the Italian countryside. The majority of Escher's art was created every bit prints – woodcuts or lithographs and its look and subject matter were rather uncommon in an era when abstruse artwork was the standard.

Oftentimes Asked Questions

Why Is M. C. Escher'due south Art Renowned?

The reality is that Escher is somewhat of a mystery outside of his own Germany. Furthermore, despite the success of his perplexing optical illusions, Escher continues to face up elitism inside the sphere of fine fine art, where his work is sometimes dismissed every bit little more than than technically adept graphic design. He is frequently referred to as "a one-human fine art movement," which seems like a fair description given that he did non link himself with other movements in contemporary art, even the i to which he was perhaps closest in essence — Surrealism.

What Kind of Fine art Did M. C. Escher Make?

Escher was good at creating powerful visuals with almost-universal attraction — something that nigh fine painters would undoubtedly aspire to. At a period when abstract fine art was king, M. C. Escher'southward Tessellations surprised everyone by investigating abstract themes like infinity, eternity, and the unattainable in seemingly realistic paintings that were incredibly skillfully constructed. As the boilerplate population lost bear upon with the art world, Escher's prints appeared basic and straightforward. Mosque'due south intricate designs influenced Escher, who concentrated his work on tessellation and recurring patterns, frequently including overlapping, interlaced pictures transforming into something new, every bit seen in his "Metamorphosis" series. Escher was appreciated by mathematicians since much of his meticulously studied, exact output incorporated or investigated notions like geometry, rationality, dimension, and eternity, in conjunction to somewhen beingness a recognized worldwide creative person with mounting exhibits.

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Source: https://artincontext.org/mc-escher/

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