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Parallel Worlds: Escher and Mathematics, Revisited

In: M.C. Escher’s Legacy

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  • Marjorie Senechal

Abstract

The popularity — and ubiquity — of the graphic work of the Dutch artist M.C. Escher (1898–1972) continues unabated: books on his work remain in print, the public never seems to tire of Escher posters, mugs, T-shirts, calendars, and other paraphernalia, and exhibitions of his work are packed. Over 300,000 visitors attended the six-month “M.C. Escher: A Centennial Tribute” at the National Gallery of Art in Washington in spring, 1998; exhibitions were held in that centennial year in Brazil, Mexico, The Czech Republic, Hong Kong, Great Britain, China, Greece, Italy, Argentina, Canada, Holland, and Peru. “People are attracted like magnets to these works. They come closer and closer and closer, and they stay there an incredible amount of time,” says Jean-François Léger of the National Gallery of Canada. “Studies have shown that the average length of time that a gallery visitor will stay in front of a work of art is 17 seconds. But they stay minutes in front of Escher’s, and discuss, and comment, and say ‘Do you see this, have you seen that?’“ What is the magnet, what is the attraction? Is it profound, or is it superficial?

Suggested Citation

  • Marjorie Senechal, 2003. "Parallel Worlds: Escher and Mathematics, Revisited," Springer Books, in: Doris Schattschneider & Michele Emmer (ed.), M.C. Escher’s Legacy, pages 83-91, Springer.
  • Handle: RePEc:spr:sprchp:978-3-540-28849-7_8
    DOI: 10.1007/3-540-28849-X_8
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