Ten years after the last exhibition dedicated in Madrid to his still enigmatic art, the pictorial paradoxes of the Dutch painter Maurits Cornelis Escher will be until June 25 in the Renaissance palace of Gaviria, in Madrid, recovered for the culture.
Son of a hydraulic engineer and a failed architectural student, Maurits Cornelis Escher died at age 73 in a hospice for artists, neither rich nor famous, but his legacy ended up shaping scientific thinking and modern iconography, from fashion to music, going through the film, where David Bowie set up his own “House of Stairs” in Inside the Labyrinth (1986).
Among the emblematic pieces that will amaze the visitors, there is that convoluted conglomeration of impossible planes, but also Hand with reflecting sphere, which serves as image of the exhibition, as well as the Time of union that is rolling or unrolling creating two spinning faces , and the small palace Belvedere.
His projection in the current culture culminates a long route through more than 200 works, mainly lithographs and xylographies that show their skill, which begins after their contact with Art Nouveau under the teachings of Samuel Jessurum de Mesquita, the discovery of the landscape Italian and his interest in the tessellation or regular division of the plane.
The “Rome nocturna” cycle reveals his profound experimental interest, which led him to practice with the thickness of the line to produce shapes and three-dimensional effect, in addition to his ability to dominate a large scale of grays, something very complex in the field of the woodcut.
Fill the plane
The second stop of the exhibition, which stops on his trip to Granada, “where he realized how he could do what he wanted: to fill the plan.”, it is specially relevant to Spain and his artistic development.
“His visit to the Alhambra radically changed his painting, he left landscapes in the interior and his work became more intellectual,” said the Italian collector Federico Giudiceandrea, curator of the exhibition with the Dutchman Mark Veldhuysen, executive director of the M.C. Escher Company.
There he discovered the secrets of symmetry, which brought him into contact with the academic world and which he extrapolated to represent the shapes of nature, giving rise to new stages in which, through reflective surfaces, metamorphosis and geometric paradoxes, abounded in his other great concern: the representation of the infinite.
“Every time I see these prints, I find a new find,” Giudiceandrea said about exhibited images, which come to Madrid accompanied by playful explanations that test the sharpness of the viewer and discover visually deceptive laws such as continuity , the full and the empty or the concave and convex spaces.
Directed by Arthemisia, the same company that organized the multitudinous show “andinsky, a retrospective at CentroCentro Cibeles, this broad look at the work of Escher will have a complementary didactic offer, consisting of guided tours for student groups and also for adults.
Tickets, at the ticket office of the Palacio de Gaviria or via the Internet, will cost 12 euros, except for special groups (10 euros) and children (5 euros).
8 de febrero de 2017, EFE/Practica Español
Noticia relacionada (1 de febrero de 2017)
Comprensión del texto C.1 (Comprehension C.1)
La faceta desconocida de un artista holandés.
La influencia de la moda en la obra de Escher.
Una exhibición sobre el arte de Escher.
Pasó desapercibida para la mayoría de las personas.
Influyó a creadores y artistas de todo tipo.
Solo influyó en las artes escénicas.
No se sabe.
El viaje de Escher a Granada es irrelevante.
El viaje de Escher a Granada fue un punto de inflexión en su obra.
La proyección artística de Escher empeoró tras visitar Granada.
Ortografía C.1 (Orthography C.1)
Practica la diferencia entre aún y aun
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Aun no ha visto esa exposición.
Aún no ha visto esa exposición.
Es muy tarde y aún así se ha ido a ver la exposición.
Es muy tarde y aun así se ha ido a ver la exposición.
Aún está viendo las obras de Escher.
Fue a ver la exposición aun estando enfermo.