Sention 1. Figurative Representation

Ámbito 1. Figurative RepresentationAREA 1
Figurative Representation
This first exhibition section brings together the works that Escher creates during his first graphic period, between 1911 and 1937. During this time, he acquires the mastery of different graphic skills of engraving. The works that shape this space represent different subject-matters that go from representations of alive or inert natures up to interpretations of passages of the Bible. CHECK OUT

Section 2. Natural and Artificial Landscapes. The Mediterranean

Section 2. Natural and Artificial Landscapes. The MediterraneanAREA 2
Natural and Artificial Landscapes. The Mediterranean
After travelling round Italy and Spain, Escher settles in Rome. The meeting with the south of Europe and the Mediterranean is determinant in the creative evolution of the artist. The Mediterranean climate, the sceneries and the light, will be his source of inspiration and a recurrent topic in many of his works.CHECK OUT

Section 3. Metamorphosis

Section 3. MetamorphosisAREA 3
After his visit to the Alhambra, Escher remains impacted for his architecture. The works that he develops from its study melt figures and forms that evolve up to transform in alive beings. The works exhibited in this section are a clear example of these transitions, where the space covers the time and the day turns into night.CHECK OUT

Section 4. Crossing Worlds

Section 4. Crossing WorldsAREA 4
Crossing Worlds
From 1937 Escher leaves physical tangible reality behind to penetrate into a new interpretation of the world. Across the creation of meetings of different realities in the same convergence, dual worlds arise, where their limits are indistinguishable and where other worlds are lodged in a continuous succession that has no end.CHECK OUT

Section 5. Three-dimensional and Mathematical Forms

Section 5. Three-dimensional and Mathematical Forms AREA 5
Three-dimensional and Mathematical Forms
The fascination for the regular and geometric forms accompanies Escher during all his life. His interest in the crystallography remains clear in the works that shape this ambience, where we find polyhedrical figures inhabited by strange entities as well as three-dimensional reconstructions with the concept of infinite as a connection of union.CHECK OUT

Section 6. Geometrisation of the Plane

Section 6. Geometrisation of the PlaneAREA 6
Geometrisation of the Plane
The repetition and organization of geometric figures on the plane without leaving hollows between them, turns into principal argument of his work and into one of the most used instruments. The regular division of the plane from figures in appearance simple and the use of patterns to refill the space, lead this transgressor section where the approach and the points of view turn out to be crucial for its interpretation.CHECK OUT

Section 7. Perspectives and Architectures

Section 7. Perspectives and ArchitecturesAREA 7
Perspectives and Architectures
The traditional concepts of gravity, space and continuity are in check in this ambience led by architectures of impossible execution. In the works that shape this section there are stairs that never finish, unreal constructions, impossible continuities between floors and ceilings, visual games that play with the perception of the spectator. CHECK OUT

Last modified on Monday, 25 April 2011 21:02