{"id":31549,"date":"2013-12-02T06:00:21","date_gmt":"2013-12-02T05:00:21","guid":{"rendered":"http:\/\/www.arshake.com\/the-enigma-escher\/"},"modified":"2013-12-02T06:00:21","modified_gmt":"2013-12-02T05:00:21","slug":"the-enigma-escher","status":"publish","type":"post","link":"https:\/\/www.arshake.com\/en\/the-enigma-escher\/","title":{"rendered":"The Enigma Escher"},"content":{"rendered":"<p style=\"text-align: center;\"><a href=\"http:\/\/www.arshake.com\/wp-content\/uploads\/2013\/11\/389-Relativity-1953-Lithographm.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" alt=\"389 Relativity 1953 Lithographm\" src=\"http:\/\/www.arshake.com\/wp-content\/uploads\/2013\/11\/389-Relativity-1953-Lithographm-500x484.jpg\" width=\"619\" height=\"597\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">For an entire generation, Escher was best known as the author of the cover of Italo Calvino\u2019s <i>Cosmicomiche<\/i> (1965). He was interpreted as a kind of Piranesi of geometry, a psychology of perception-based, surreal inventor etc. Essentially, he was a graphic designer who found a dimension which had more to do with the story of the page than with painting: from the very first glance his pages look like the natural residents of a surreal 16<sup>th<\/sup> century book or \u2013 better yet \u2013 cryptic wisdom literature from the 17<sup>th<\/sup> century. In fact, Escher minimized the technical component of his approach because he worked exclusively on vision.\u00a0Escher had reached his artistic maturity by the mid-1930s and took on a summation of past and current suggestions. His approach was purely in terms of being seen: codes, convention, rules and conditions that the interpretation of an image has to offer. A master of ambiguous perception and geometric shapes so methodologically sharp that they are lost within themselves, Escher systematically targeted his work to the point of dissolving the very rule: an elusive world emerges from his extremely precise order; a sort of post-logical chaos dominates the ordinary experience. What it all comes down to is that what we love most about his work is the constant estrangement and a certain flair which exists somewhere between paradox and poetry that feeds his abundant repertoire of visual expedients. Essentially, they are none other than visual ploys.<\/p>\n<p style=\"text-align: justify;\"><em>&#8211;This text was translated from the original Italian version that appeared on <em><a href=\"http:\/\/flaminiogualdoni.com\/?p=11467\" target=\"_blank\">Flamio Gualdoni<\/a><\/em>&#8216;s website and that is here re-published under concession of its author&#8211;<\/em><\/p>\n<p><strong><i>L\u2019enigma Escher. Paradossi grafici tra arte e geometria<\/i>, Palazzo Magnani, Reggio Emilia, until 23 February 2014. Info: <a href=\"http:\/\/www.palazzomagnani.it\/\">www.palazzomagnani.it\u00a0<\/a><\/strong><\/p>\n<p><em>Images<\/em><\/p>\n<p><em>(1 cover) Maurits Cornelis Escher, Giorno e notte, 1938, xilography, two colors, 39,3 X 67,8 cm; (2)\u00a0Maurits Cornelis Escher, Relativit\u00e0, luglio 1953, litography, 277 x 292<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Geometry and science of perception in Escher&#8217;s drawings, now on show at Palazzo Magnani (Reggio Emilia, Italy and in the words by Flaminio Gualdoni.<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":[],"footnotes":""},"categories":[5376],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Enigma Escher - 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