The world famous graphic artist M. C. Escher is renowned for his impossible structures and prints of transformation. But during the time he lived and travelled in Italy, Escher produced some stunning and realistic art work including ‘Dewdrop’ and ‘Puddle’.
Brief Biography of M. C. Escher (1898 – 1972)
Maurits Cornelis Escher was the youngest son of his parents, George Arnold Escher and Sarah Gleichman Escher. He lived with his family in the Dutch Province of Friesland until they moved to Arnhem, where young Escher attended elementary and secondary school.
Escher’s grades during his education were poor except in drawing, where his effort and talent excelled beyond expectation. Encouragement from his art teacher and from friends persuaded him to pursue a career as a graphic artist, and it is his work in this field which Escher is most famously well-known for. M. C. Escher’s work is still enjoyed by thousands of people worldwide.
M. C. Escher’s Passion for Nature
Despite a keen interest for creating impossible structures in his art work, Escher also experimented with realistic forms – most specifically in nature – whilst travelling in Italy. The two pieces I have chosen for analysis are results of his journey through Italy; he produced sketches and prints of both before transferring the medium to lithography and woodcuts later on.
Escher once mentioned that ordinary nature can be ‘extraordinary’ and it appears Escher’s ‘Dewdrop’ and ‘Puddle’ pieces are outcomes of this contemplation.
Brief Analysis of ‘Dewdrop’ (1948) by M. C. Escher
Zoomed in considerably – with a dark, dull background of black – the viewer’s focus is absorbed in ‘Dewdrop’ (1948) by the intricate, spindly thread-vein lines of the leaf juxtaposing the soft, spherical curve of the water droplet. Due to the medium of mezzotint, the colour surrenders the limelight to heavy tone and textural details to create an accurate and realistic study. The reflection bestows a window, which not only shows the complex detail Escher puts into his work, but also creates a contrast between natural and man-made forms.
Brief Analysis of ‘Puddle’ (1952) by M. C. Escher
Escher's fascination with water and reflection seeps into the content of ‘Puddle’ (1952). This piece seems overwhelmed by the almost mystical reflection revealed. The viewer is given the impression that this piece takes place in a forest, woodland or farmland area, but the specifics are not clear and arguably irrelevant. The reflection – contrasting to the rest of the piece in both intensity of tone and colour – seems to soak through the muddy ground riddled with the unnatural tire tracks and boot footprints to become the primary focus. This puddle – conflicting with ‘Dewdrop’ which presents an unnatural form of a window – gives a glimpse of the beauty of natural forms above. It creates an entirely new scene for the viewer to admire, subsequently formulating a peaceful and thoughtful mood.
Escher’s work on nature certainly validates his theory that even the most ordinary of things can be extraordinary. It is no wonder that his work is still internationally acclaimed.
Read on for analysis of one of Escher's most famous pieces, 'Hand With Reflecting Sphere'
Source:
The Official M. C. Escher Website: Biography of M. C. Escher
