Maurits Cornelius Escher

A lot of people will have heard of him, some will only know his work visually. I don’t have an encyclopaedic knowledge of the Master but I know a lot of his work having studied him since I was in my mid-teens. M.C. Escher is one of the artists the following generations try to replicate, but never quite have the talent or vision to pull it off.

We (Scotland) hosted a collection of his works at the Scottish National Gallery of Modern Art in 2015 and it was the first time I had a chance to see his work in person. I was captivated. Enchanted all over again.  I saw his earlier woodcut masters, each one with a crisp hole drilled through, to prevent forgeries. I saw his mezzotint and stone lithograph masters. Such dynamic, intricate 3-Dimensional craftsmanship to arrive ultimately at a flat 2-Dimensional print.

Above all his tessellation’s and geometrical masterpieces, the Self Portrait is my most favourite piece. No not that one. This one. The 1922 woodcut from the “Italian Period” of his collection, when he was just starting to master the craft on his jaunts around Italy, and before he found mosaic tessellation on the walls of Spanish architecture, which flourished in to his mathematical fascinations and obsession with repeating patterns.

There’s a purity and clarity to this piece that resonates with me.

A true master of the graphic arts.