{"id":351892,"date":"2021-03-04T11:00:00","date_gmt":"2021-03-04T16:00:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=351892"},"modified":"2021-12-15T05:33:53","modified_gmt":"2021-12-15T10:33:53","slug":"m-c-escher-film","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/m-c-escher-film\/","title":{"rendered":"M.C. Escher\u2019s Infinitely Intriguing Art Gets the Hollywood Treatment"},"content":{"rendered":"\n
\"Day
Day and Night<\/em>, 1938, by M.C. Escher<\/a> \u00a9 The M.C. Escher Company B.V.- Baarn, the Netherlands<\/figcaption><\/figure>\n\n\n\n

Nothing is quite what it seems in the universe of Maurits Cornelis Escher (1898\u20131972)<\/a>. The Dutch artist, famed for his graphic prints featuring infinite staircases, twisted perspectives and self-replicating animals, was a master of illusion in more ways than one. His pictures aren\u2019t simply puzzles designed to play tricks on the brain; they were born of a desire to stretch our powers of perception, to encourage us to cultivate a natural curiosity and playfulness about the world around us. <\/p>\n\n\n\n

According to New York gallerist Skot Foreman<\/a>, the artist had a rare gift. \u201cHe combined the structure and analytics of the left brain with the artistic creativity of the right brain,\u201d Foreman explains. “Somehow, he turned images into mind-bending universes that were able to stretch the boundaries of our imagination, urging us to rethink the realms of possibility within nature\u2019s laws of order.\u201d <\/p>\n\n\n\n

But creating illusionistic illustrations was not Escher\u2019s only talent. He was also a passionate diarist, recording his thoughts and frustrations in written form throughout his life. He often lamented that his pictures could never fully convey his cerebral imaginings.<\/p>\n\n\n\n

\"Waterfall,
Waterfall<\/em>, 1961 \u00a9 The M.C. Escher Company B.V.- Baarn, the Netherlands<\/figcaption><\/figure>\n\n\n\n

At the same time, he expressed impatience with those who couldn\u2019t see beyond the surface appeal of his shape-shifting patterns. Escher was an artist who sought perfection and felt misunderstood by the mainstream art world. Both traits find expression in a late diary entry reading, \u201cI fear that there is only one person in the world who could make a really good movie about my prints: myself.\u201d<\/p>\n\n\n\n

Now, he has been given the chance to do just that \u2014 as far as is posthumously possible \u2014 by Dutch filmmaker Robin Lutz. Lutz\u2019s M.C. Escher: Journey to Infinity<\/a><\/em>, recently released in select U.S. theaters, uses the artist\u2019s own words, read by British actor Stephen Fry, to relate his life from his upbringing in a wealthy Dutch family at the turn of the last century to his travels throughout Europe.<\/p>\n\n\n\n

\u201cThe most important thing about Escher is that he was always curious, always researching and exploring. Most people lose this quality as they get older, but Escher maintained a childlike enthusiasm for the world,\u201d says Lutz, whose thoughtful feature-length film marries documentary footage with animation and unfolds at an unhurried pace, allowing Escher\u2019s witty and intelligent prose to gently guide us through his creative evolution.<\/p>\n\n\n\n

\"M.C.
Photo of Escher \u00a9 M.C. Escher Foundation<\/figcaption><\/figure>\n\n\n\n

Providing insight into the artist\u2019s complex character are his sons Jan, aged 80, and George, 92, who share some of the charming idiosyncrasies related to their father\u2019s inquisitive nature. We learn, for example, that he always carried a magnifying glass in his pocket to \u201cenjoy the tiniest details\u201d at his feet, be it a plant climbing a rock, a butterfly<\/a> or a grasshopper<\/a>. <\/p>\n\n\n\n

We also discover that Escher had a real passion for travel and spent more than a decade in Rome<\/a> with his wife, Jetta, and young family. It was there that he first played with multiple perspectives, sketching the city\u2019s architecture at night to avoid the \u201cexcessive baroque frills\u201d he deemed too distracting in the daylight.<\/p>\n\n\n\n

Another big development was sparked by a 1936 visit to the Alhambra palace in Granada, Spain. Inspired by the Moorish tiles of the 14th-century landmark, Escher started to experiment with repeating patterns, or tessellations, creating his first woodcuts and lithographs of metamorphosing birds, lizards<\/a> and fish interlocking and filling the entire surface of the paper in jigsaw fashion.<\/p>\n\n\n\n

\"Lizards<\/a>
Lizards (Regular Division of the Plane IV)<\/em>, 1957<\/a><\/figcaption><\/figure>\n\n\n\n

As Escher (voiced by Fry) explains in the film, these works have a hidden symbolism, intended to illustrate the transience of life as well as the unbreakable rhythm of nature, which captivated him.<\/p>\n\n\n\n

During and directly after World War II, Escher produced many of his most famous works, emotional reactions to a world plunged into chaos. This period marked the start of his fascination with impossible staircases, never-ending waterfalls and cyclical still lifes featuring figures and creatures seemingly caught in a loop, a paradox of entrapment and renewal.<\/p>\n\n\n\n

\u201cI am personally fondest of Escher\u2019s midcareer images, executed in the latter half of the 1940s to the early \u201950s, which also marked the Cold War period when the USA and the Soviet Union were engaged in the Space Race. These works have an added dimension set against an outer-space backdrop,\u201d says dealer Foreman. \u201cI believe this stoked Escher\u2019s mind with even more source material and coincided with academia\u2019s embrace of his work, which included scientists, mathematicians, crystallographers and other scholars who frequently exchanged thoughts and ideas with him.\u201d<\/p>\n\n\n\n

\"Band,
Band<\/em>, 1956 \u00a9 The M.C. Escher Company B.V.- Baarn, the Netherlands<\/figcaption><\/figure>\n\n\n\n

It\u2019s true that Escher did not consider himself an artist. He preferred to call himself a mathematician, dedicated to conveying systems of order within his compositions. Escher\u2019s famous Ascending and Descending<\/em><\/a> lithograph of 1960, for example, which depicts identical monks caught on a never-ending stairway, is his interpretation of the Penrose stairs, a geometric brainteaser developed by Escher\u2019s friend British physicist Sir Roger Penrose and his geneticist father, Lionel Penrose. <\/p>\n\n\n\n

\u201cAs well as being fascinated by small things, he was also amazed about the enormity of the universe,\u201d says art historian Marijnke de Jong, who coproduced the documentary. \u201cIn his letters, he ponders the shape of the Earth \u2014 how it is possible that this giant ball exists and contains all this life. So, he wasn\u2019t trying to reduce or trap anything but to convey a sense of infinity, a world without limits.\u201d<\/p>\n\n\n\n

It\u2019s no wonder, then, that Escher\u2019s probing, mind-expanding prints have such enduring appeal. His influence has permeated all genres of artistic expression, evident in such cinematic fantasies as the Matrix<\/em> and Harry Potter<\/em> franchises as well as myriad video games full of surreal dreamscapes and topsy-turvy staircases recalling his distorted images. <\/p>\n\n\n\n

\"Order<\/a>
Order and Chaos II<\/em>, 1955<\/a><\/figcaption><\/figure>\n\n\n\n

The artist, who died in 1972 at the age of 73, might not have enjoyed all this attention. In the 1960s, he was heralded as a hero of psychedelic design by members of the hippy counterculture. Escher was quite troubled by this interpretation, maintaining that his work was not a \u201ctrippy\u201d form of escapism but a pure and unfettered reaction to different environments.<\/p>\n\n\n\n

The documentary relates his rejection of a written request from Mick Jagger to design a Rolling Stones album cover. Revealing his prickly side, Esher made his disapproval clear in his curt response to Jagger\u2019s secretary and berated the rockstar for having taken the liberty of using his first name instead of the politer “M. C. Escher” in his correspondence. <\/p>\n\n\n\n

Escher\u2019s reluctance to engage with popular culture was in fact due less to arrogance than to his preoccupation with precision and control. He was driven by a desire to get under the surface of things, to connect with his subjects, no matter how big or small.<\/p>\n\n\n\n

Indeed, the concept of infinity was a major inspiration for him. It informs his fish-eye studies and curvilinear perspectives, which cram in so much dizzying detail it\u2019s impossible to know where one thing ends and another begins. <\/p>\n\n\n\n

\"Hand
Hand with Reflecting Sphere<\/em>, 1935 \u00a9 The M.C. Escher Company B.V.- Baarn, the Netherlands<\/figcaption><\/figure>\n\n\n\n

\u201cI think Escher\u2019s work is particularly relevant in these uncertain times, because his art was reactive,\u201d says Lutz, who believes that the artist\u2019s iconic prints hold a lesson for our present moment.<\/p>\n\n\n\n

\u201cAt the start of the pandemic, we saw a lot of creativity,\u201d he explains. “People were making films and animations. They were singing in the streets. Escher would have appreciated this reaction because he was so playful. Now, we find ourselves caught in a more introspective chapter of the pandemic, and we are less playful. With lockdowns all over the world, we have more time on our hands, and this can be quite daunting and challenging. We are learning to look closer at things, to be more patient and curious. This is exactly what Escher did. He didn\u2019t follow the same pace as others. He took time into his own hands.\u201d <\/p>\n\n\n\n

Lutz\u2019s words are echoed in those of musician and lifelong Escher fan Graham Nash, of folk-rock supergroup Crosby, Stills & Nash, who ends the documentary with this succinct but powerful conclusion: \u201cYou have an overall appreciating of an Escher piece, but when you look at it deeply, it becomes even more miraculous.\u201d And indeed, wonders never cease in the illusory and beguiling universe of M.C. Escher.<\/p>\n\n\n\t

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\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tExplore Now<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Nothing is quite what it seems in the universe of Maurits Cornelis Escher (1898\u20131972). The Dutch artist, famed for his graphic prints featuring infinite staircases, twisted perspectives and self-replicating animals, was a master of illusion in more ways than one. His pictures aren\u2019t simply puzzles designed to play tricks on the brain; they were born […]<\/p>\n","protected":false},"author":1,"featured_media":352665,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2021-03-09T23:40:08Z","apple_news_api_id":"4a42344e-1442-4f7f-acc6-c130acbba8e2","apple_news_api_modified_at":"2021-12-15T05:51:26Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAAAA==","apple_news_api_share_url":"https:\/\/apple.news\/ASkI0ThRCT3-sxsEwrLuo4g","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":["https:\/\/news-api.apple.com\/sections\/8b012b20-6eb7-478f-914d-852b22a7d76e","https:\/\/news-api.apple.com\/sections\/809cd9be-c9e5-4328-a27b-758e48e35422"],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[260,160],"tags":[15567312,7,11978293,15567441,15201303,301373,15567701,15567700,15567703,15567692,15567698,15567704,15567695,12764893,573603,15567699,15567697,15567696,15567702],"dibs-categories":[15565858,15565891],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[15567693],"dibs-sellers":[15567694],"class_list":["post-351892","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fine-art","category-red-carpet","tag-alexandra-zagalsky","tag-art","tag-artist","tag-documentary","tag-dutch","tag-film","tag-george-escher","tag-jan-escher","tag-jetta-escher","tag-m-c-escher","tag-m-c-escher-journey-to-infinity","tag-marijnke-de-jong","tag-maurits-cornelis-escher","tag-movie","tag-prints","tag-robin-lutz","tag-skot-foreman","tag-skot-foreman-gallery","tag-stephen-fry","dibs-categories-dibs-a","dibs-categories-dibs-a_pri","dibs-creators-dibs-m-c-escher","dibs-sellers-dibs-skot-foreman-gallery"],"acf":{"post_format":"article","subtitle":"A new film goes deep into the artist's life and mind-bending creations, revealing why his ideas are still relevant to this day.","show_date":true,"interstitial_banners":[{"acf_fc_layout":"collection","interstitial_banner_shortcode":"mc-escher-merch","interstitial_banner_background_image":352261,"interstitial_banner_heading":"Browse Works by M.C. Escher on 1stDibs","interstitial_banner_subheading":"","interstitial_banner_button_text":"Explore Now","interstitial_banner_button_url":"https:\/\/www.1stdibs.com\/creators\/m-c-escher\/"}],"slideshows":false,"show_related_items_footer_popup":false,"contributors":{"hide_byline":false,"columnist":[{"ID":361856,"post_author":"456","post_date":"2021-12-14 22:36:15","post_date_gmt":"2021-12-15 03:36:15","post_content":"\n

Alexandra Zagalsky is a London-based journalist specializing in luxury topics, art and travel content. She began her journalistic career in Paris, where she worked on a cultural guide for English-speaking expats. Her first big break was an interview with Lionel Poil\u00e2ne, the late, venerable baker from Paris\u2019s Saint-Germain-des-Pr\u00e9s district who popularized the two-kilogram sourdough loaf and once made a bread chandelier for Salvador Dal\u00ed<\/a>.

Zagalsky moved back to London in her early 20s and has since worked with a number of august publications, including the Week<\/em>, the Telegraph<\/em>, the Times<\/em> and a variety of art and design outlets, such as Introspective<\/em><\/a> and V&A<\/em>, Sotheby\u2019s<\/em> and Christie\u2019s<\/em> magazines. She studied fine art and the history of art at Goldsmiths, University of London, and continues to explore the contemporary art scene, including the world of NFTs.

She has written extensively on the subject of vintage watches<\/a> and describes the Cartier<\/a> Crash as her favorite timepiece. \u201cIt\u2019s a great emblem of the Swinging Sixties and an adaptation of the house\u2019s classic Baignoire<\/a> Allong\u00e9e wristwatch, its sinuous Daliesque style apparently inspired by a model brought into the London Cartier workshop that had been distorted in a car crash,\u201d she says. \u201cI love it for all sorts of reasons, not least because it\u2019s so unconventional and daring, as all great design objects often are.\u201d

Find out more about Zagalsky\u2019s work on Linkedin<\/a>.<\/p>\n","post_title":"Alexandra Zagalsky","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alexandra-zagalsky","to_ping":"","pinged":"","post_modified":"2025-11-27 03:14:00","post_modified_gmt":"2025-11-27 08:14:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/blogs\/the-study\/contributors\/alexandra-zagalsky\/","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false}},"dibs_designs_tags":null,"dibs_sellers_tags":["dibs-skot-foreman-gallery"],"dibs_creators_tags":["dibs-m-c-escher"],"dibs_styles_tags":null,"dibs_categories_tags":["dibs-a","dibs-a_pri"],"featured_image_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/Escher_Band_M.C.EscherCompanyB.V.-Baarn-crop-640x450.jpeg","post_title":"M.C. Escher\u2019s Infinitely Intriguing Art Gets the Hollywood Treatment","fimg_url":{"thumbnail":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/Escher_Band_M.C.EscherCompanyB.V.-Baarn-crop-120x90.jpeg","width":120,"height":90},"medium":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/Escher_Band_M.C.EscherCompanyB.V.-Baarn-crop-465x350.jpeg","width":465,"height":350},"full":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/Escher_Band_M.C.EscherCompanyB.V.-Baarn-crop.jpeg","width":1526,"height":1149}},"jetpack_featured_media_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/Escher_Band_M.C.EscherCompanyB.V.-Baarn-crop.jpeg","apple_news_notices":[],"yoast_head":"\nM.C. 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