The Science of Escher

The Science of Escher

Though M.C. Escher contended that he knew virtually nothing about mathematics, even having gone as far as to declare that he was “absolutely innocent of training or knowledge in the exact sciences,” (Schattschneider 67), his art work commonly incorporates the use of many recognized elements of science and mathematics. It has been argued that Escher’s natural accessibility and his popularity with young art patrons is due to the Escher’s use of symmetry, his use of metamorphosis, and his focus on representational elements of science in his work (Donato 31).

Though Escher appeared unwilling to address it during his lifetime, it was evident that his work was supported by elements of science, including the use of mathematic formulations and specific geometrical patterns. If he did not study science, he at least studied visual constructions, and determined his artistic perspective after evaluating the distinct nature and geometry and color configurations of ancient arts. The link between Escher’s creations and tile patterns of the Alhambra in Grenada as well Islamic art demonstrates the imbedded nature of his developments and the focus on science and math (Schattschneider 67; Watson-Newlin 43).

II. Escher’s Perspective

Even as a child, art historians suggest that M.C. Escher had a visual focus that directed him towards the study of patterns and symmetry (Schattschneider 67). In his younger years, Escher had an affinity for creating patterned drawings that led him to the study of patterns in the tiles of the Alhambra in Grenada, as well as to study the geometric drawings in mathematical papers and in the need, to pursue his own perspective and unique ideas for the tiling of a plane (Schattschneider 67).

It was Escher’s focus on the coloring in his drawings of interlocked tiles that later interested mathematicians and crystallographers when evaluating his color symmetry (Schattschneider 67). As a result of his focus on these elements, Escher’s...