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Sto caricando le informazioni... The Magic of M.C. Escher (2000)di J. L. Locher
   Nessuno Sto caricando le informazioni...
 Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro.  bnielsen | Jul 15, 2019 |   “For the first time, Escher’s most important pictures and drawings are presented as a true spectacle. This is done in unusual sequences of images with, at relevant points, enlarged details that strengthen the visual sensations evoked by Escher’s particular imagery.” This quote from art historian and Escher expert J.L. Locher’s introduction. For me, the sheer size of Escher’s bizarre, mathematically precise illustrations greatly enhance the visual impact of all the stunning combinations and permutations of intertwining, interconnecting, interweaving images, images that dazzle, surprise and open one’s imagination as if by a powerful hallucinogen. Sure, those South American shamans can take their ayahuasca, but we in the modern world have the magic of M. C. Escher and this exquisite coffee table book only heightens the magic. Escher is famous for his use of complex tessellation, those interlocking images of birds, frogs, fish, griffin, angels, demons, lizards, gnomes and various other beings, geometries and patterns. Commenting on his own creations, Escher states, “At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.” And if any viewer questions the quality of beauty in Escher’s images, reflecting that such odd, distorted amalgamations contain more of the ugly than any usual, “normal” measure of attractiveness, then these words of the artist might be illuminating: “Perhaps all I pursue is astonishment and so I try to awaken only astonishment in my viewers. Sometimes “beauty” is a nasty business.” Another great Escher quote: “An artist’s aim is to depict dreams, ideas or problems in such a way that other people can observe and consider them.” What I personally find so compelling is all of Escher’s fantastic dreamscapes, whimsical and unbelievable, curious and out-of-this-world, are in a kind of visual tension with the undeniable fact that these impossible images exist in the first place and my eyes tell me “seeing is believing,” – yes, I see those hooded men walking down the steps and other hooded men walking up the same steps but, wait, that’s not even remotely doable, you can’t go up and down ad infinitum leading nowhere at the same time! Yet this is exactly what I see happening in “Ascending and Descending.” As if perhaps anticipating the tension I allude to here, Escher writes, “The illusion that an artist wishes to create is much more subjective and far more important than the objective, physical means with which he tries to create it.” My absolute favorite Escher in this book is “Encounter,” where two figures, one white, one black, are locked in multiple tessellations on the back wall, the white one grinning, holding his right hand out ready to receive a handshake, the black one with his huge head and enormous pointed nose in the posture more of a chimpanzee then a man, Both white and black men emerge from the wall’s tessellation and walk in their respective single files around a circular pool, finally meeting one another for a handshake at the front. Actually, Escher’s illustration only captures the first handshake. We as viewers are left, via our imagination, to envision the next steps (no pun intended) leading up to a string of black and white handshakes. And to add even more spice to this series of quizzical encounters, at the point of shaking hands, each black man will issue what looks like a warning with his up pointed left index finger. Escher had this comment on his work: “I was asked, among other things, why does the black on have such a big nose. Well that’s pretty obvious. That’s because he’s inside the belly of the white one. I can’t help that.” Let me ask: what other artist surpasses M.C. Escher in combining mathematical exactitude, including such specialties as hyperbolic geometry and topology, with creative imagination and the sheer joy of expressing visual possibilities and impossibilities? If there are such artists out there, I will make it my business to become acquainted with their work sooner rather than later. And how did M. C. Escher use his eyes to penetrate the world? I’ll let the artist answer in his own words: “That which an artist makes is a mirror image of what he sees around him.” What do you see around you? Need some inspiration to expand your vision? Here is your book. (  ) Glenn_Russell | Nov 13, 2018 | “For the first time, Escher’s most important pictures and drawings are presented as a true spectacle. This is done in unusual sequences of images with, at relevant points, enlarged details that strengthen the visual sensations evoked by Escher’s particular imagery.” This quote from art historian and Escher expert J.L. Locher’s introduction. For me, the sheer size of Escher’s bizarre, mathematically precise illustrations greatly enhance the visual impact of all the stunning combinations and permutations of intertwining, interconnecting, interweaving images, images that dazzle, surprise and open one’s imagination as if by a powerful hallucinogen. Sure, those South American shamans can take their ayahuasca, but we in the modern world have the magic of M. C. Escher and this exquisite coffee table book only heightens the magic. Escher is famous for his use of complex tessellation, those interlocking images of birds, frogs, fish, griffin, angels, demons, lizards, gnomes and various other beings, geometries and patterns. Commenting on his own creations, Escher states, “At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.” And if any viewer questions the quality of beauty in Escher’s images, reflecting that such odd, distorted amalgamations contain more of the ugly than any usual, “normal” measure of attractiveness, then these words of the artist might be illuminating: “Perhaps all I pursue is astonishment and so I try to awaken only astonishment in my viewers. Sometimes “beauty” is a nasty business.” Another great Escher quote: “An artist’s aim is to depict dreams, ideas or problems in such a way that other people can observe and consider them.” What I personally find so compelling is all of Escher’s fantastic dreamscapes, whimsical and unbelievable, curious and out-of-this-world, are in a kind of visual tension with the undeniable fact that these impossible images exist in the first place and my eyes tell me “seeing is believing,” – yes, I see those hooded men walking down the steps and other hooded men walking up the same steps but, wait, that’s not even remotely doable, you can’t go up and down ad infinitum leading nowhere at the same time! Yet this is exactly what I see happening in “Ascending and Descending.” As if perhaps anticipating the tension I allude to here, Escher writes, “The illusion that an artist wishes to create is much more subjective and far more important than the objective, physical means with which he tries to create it.” My absolute favorite Escher in this book is “Encounter,” where two figures, one white, one black, are locked in multiple tessellations on the back wall, the white one grinning, holding his right hand out ready to receive a handshake, the black one with his huge head and enormous pointed nose in the posture more of a chimpanzee then a man, Both white and black men emerge from the wall’s tessellation and walk in their respective single files around a circular pool, finally meeting one another for a handshake at the front. Actually, Escher’s illustration only captures the first handshake. We as viewers are left, via our imagination, to envision the next steps (no pun intended) leading up to a string of black and white handshakes. And to add even more spice to this series of quizzical encounters, at the point of shaking hands, each black man will issue what looks like a warning with his up pointed left index finger. Escher had this comment on his work: “I was asked, among other things, why does the black on have such a big nose. Well that’s pretty obvious. That’s because he’s inside the belly of the white one. I can’t help that.” Let me ask: what other artist surpasses M.C. Escher in combining mathematical exactitude, including such specialties as hyperbolic geometry and topology, with creative imagination and the sheer joy of expressing visual possibilities and impossibilities? If there are such artists out there, I will make it my business to become acquainted with their work sooner rather than later. And how did M. C. Escher use his eyes to penetrate the world? I’ll let the artist answer in his own words: “That which an artist makes is a mirror image of what he sees around him.” What do you see around you? Need some inspiration to expand your vision? Here is your book. ( ) GlennRussell | Feb 16, 2017 |  ) deldevries | Jan 31, 2016 | ) ParadigmTree | Aug 8, 2008 | nessuna recensione | aggiungi una recensione
Elenchi di rilievo
Discusses the perspective artist's life and works and offers prints of some of his best-known pieces, unpublished drawings, the artist's own commentary, and additional observations. Non sono state trovate descrizioni di biblioteche |
Discussioni correntiNessunoCopertine popolari
 Google Books — Sto caricando le informazioni...GeneriSistema Decimale Melvil (DDC)769.92The arts Printmaking and prints Prints History, geographic treatment, biography BiographyClassificazione LCVotoMedia: (4.62)
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Metamorphosis II er på 192 x 3895 mm, så den fylder 13 sider her i reduceret størrelse (ca 110 x 3315 mm) Mange af siderne er i dobbelt bredde og så foldet ind, så man skal gøre en indsats for at få alle detaljerne med.
Bogen er superfin, fordi den viser forstudier til mange af de kendte tryk, så de viser historien. (