The Case for M.C. Escher

There are only a very few artists from the 20th century who are truly household names, figures like Salvador Dalí, Frida Kahlo, and Andy Warhol. The name M.C. Escher is certainly on that short list. Escher’s impact on the wider culture may be as big, or even bigger that of those other figures, even as he remains somewhat hard to classify as an artist.

Born Maurits Cornelis Escher, the Dutch artist was a highly skilled maker of woodcuts, lithographs, and engravings, bringing a sense of exquisite precision and intricate geometry to his compositions. But as an artist, Escher is almost synonymous with the idea of visual paradox.

You will know him for works like Drawing Hands (from 1953), depicting two hands holding pencils, each seeming to emerge from a piece of paper, where they are each being drawn by the other, in a magical loop.

Or for Ascending and Descending (from 1960), showing a palace with a looping set of stairs on its roof, which seem, due to Escher’s cleverly realized optical illusion, to be leading tiny pilgrims both upwards and downwards—at the same time.

So, is Escher one of the greats, or is he more of a novelty act? My colleague, Jo Lawson-Tancred recently went to see a show currently at Somerset House in London that’s called “M.C. Escher: The Exhibition,” which includes 150 of Escher’s original works from all the major phases of his career. Art Critic, Ben Davis leapt at the chance to talk to Jo about the show, the artist, and the cultural phenomenon that is M.C. Escher.