Frases de M.C. Escher

I don't grow up. In me is the small child of my early days.
citado no website: mcescher.com

1950's, On Being a Graphic Artist', 1953
Contexto: It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint 'for themselves': but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it's music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions.

undated quotes, M.C. Escher Foundation
Variante: I walk around in mysteries. Each time, youngsters say: you make Op-art too. I don't know what that is, Op-art. This work I have been making for the past thirty years.

1950's, On Being a Graphic Artist', 1953
Contexto: It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet.

1950's, On Being a Graphic Artist', 1953
Contexto: I do indeed believe that there is a certain contrast between, say, people in scientific professions and people working in the arts. Often there is even mutual suspicion and irritation, and in some cases one group greatly undervalues the other. Fortunately there is no one who actually has only feeling or only thinking properties. They intermingle like the colors of the rainbow and cannot be sharply divided. Perhaps there is even a transitional group, like the green between the yellow and the blue of the rainbow. This transitional group does not have a particular preference for thinking or feeling, but believes that one cannot do without either the one or the other. At any rate, it is unprejudiced enough to wish for a better understanding between the two parties... It is clear that feeling and understanding are not necessarily opposites but that they complement each other.

Variant translations: Are you really sure that a floor can't also be a ceiling?
I can't keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two and three dimensionalities, flat and spatial, and to make fun of gravity.
1950's, On Being a Graphic Artist', 1953
Contexto: In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?

Variant translations: Are you really sure that a floor can't also be a ceiling?
I can't keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two and three dimensionalities, flat and spatial, and to make fun of gravity.
1950's, On Being a Graphic Artist', 1953
Contexto: In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?

1950's, On Being a Graphic Artist', 1953
Contexto: As far as I know, there is no proof whatever of the existence of an objective reality apart from our senses, and I do not see why we should accept the outside world as such solely by virtue of our senses. These reality enthusiasts are possibly playing at hide-and-seek; at any rate they like to hide themselves, though they are not usually aware of it. They simply do it because they happen to have been born with a sense of reality, that is, with a great interest in so-called reality, and because man likes to forget himself.

1950's, On Being a Graphic Artist', 1953
Contexto: I do indeed believe that there is a certain contrast between, say, people in scientific professions and people working in the arts. Often there is even mutual suspicion and irritation, and in some cases one group greatly undervalues the other. Fortunately there is no one who actually has only feeling or only thinking properties. They intermingle like the colors of the rainbow and cannot be sharply divided. Perhaps there is even a transitional group, like the green between the yellow and the blue of the rainbow. This transitional group does not have a particular preference for thinking or feeling, but believes that one cannot do without either the one or the other. At any rate, it is unprejudiced enough to wish for a better understanding between the two parties... It is clear that feeling and understanding are not necessarily opposites but that they complement each other.

Quote of Escher 1959 - in the introduction of M.C. Escher: The Graphic Work (1978) p. 8 http://books.google.com/books?id=PJNZAAAAYAAJ&q=%22He+who+wonders+discovers+that+this+is+in+itself+a+wonder%22&pg=PA8#v=onepage - translated from the original book in Dutch: M.C. Escher - Grafiek en Tekeningen, publisher, Koninklijke Erven J.J. Tijl N.V. Zwolle, 1959
1950's
Contexto: The ideas that are basic to [my work] often bear witness to my amazement and wonder at the laws of nature which operate in the world around us. He who wonders discovers that this is in itself a wonder. By keenly confronting the enigmas that surround us, and by considering and analyzing the observations that I had made, I ended up in the domain of mathematics.

1950's, On Being a Graphic Artist', 1953
Contexto: The result of the struggle between the thought and the ability to express it, between dream and reality, is seldom more than a compromise or an approximation. Thus there is little chance that we will succeed in getting through to a large audience, and on the whole we are quite satisfied if we are understood and appreciated by a small number of sensitive, receptive people.

undated quotes, M.C. Escher Foundation

If only I knew!
1950's, On Being a Graphic Artist', 1953

Escher's note in a 1960 book introduction; as cited in 'Metamorphosis', in Biography of M.C. Escher http://im-possible.info/english/articles/escher/escher.html
1950's

undated quotes, M.C. Escher Foundation

undated quotes, M.C. Escher Foundation

undated quotes, M.C. Escher Foundation

Quote of Escher, 1959; as cited in '3. The approach to infinity' http://pi.math.cornell.edu/~mec/Winter2009/Mihai/section3.html, in: M.C. Escher and Hyperbolic Geometry http://pi.math.cornell.edu/~mec/Winter2009/Mihai/index.html - Math Explorer Club
1950's

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): En als je nu bedenkt dat grote wiskundigen mijn werk interessant vinden, omdat ik in staat ben hun theorieën te illustreren. Ze kunnen zich helemaal niet voorstellen dat ik zo slecht was in wiskunde. Ik snap er zelf ook niets van. Ik begreep niet dat je iets moest bewijzen wat iedereen ziet. Ik zag het, ik wist, het is toch zo.. .Maar jawel hoor, je moest het bewijzen. Ik ben er bovenuit gekomen toen ik me realiseerde, dat ik wat anders kon. Ik dacht, dat ik een nietsnut was. Ik kom uit een milieu waar geen artiesten in waren.. ..Ik was een rare eend in de bijt, he?
1960's, M.C. Escher, interviewed by Bibeb', 1968

No known direct citation to a work or interview with Escher; it appears in The Complete Idiot's Guide to the Perfect Cover Letter (1997) by Susan Ireland, p. 258 http://books.google.co.uk/books?id=9OMcWS5K-JMC&pg=PA258, and The Universal Book of Mathematics : From Abracadabra to Zeno's Paradoxes (2004) by David Darling, p. 107
disputed quotes

undated quotes, M.C. Escher Foundation

1950's, On Being a Graphic Artist', 1953

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): Mijn werk heeft niets met de mens, niets met psychologie te maken. Ik ben veel cerebraler dan Willink. Ik wens helemaal niet diep te zijn. Ik weet dat ik in dit werk niets verberg. Als Carel Willink een naakte juffrouw in een straat schildert, denk ik: wat heeft die juffrouw daar te maken?.. ..de gevels maken op mij de indruk van iets lugubers. Het is dus een lugubere straat. Mijn werk is niet luguber. Als je Willink vraagt: waarom zijn die naakte juffrouwen daar, krijg je geen antwoord. Bij mij krijg je altijd antwoord als je vraagt: waarom..
1960's, M.C. Escher, interviewed by Bibeb', 1968

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): De onbekende bergnesten in het onherbergzame binnenland van Zuid-Calabrië zijn meestal slechts door een muilezelpad met den spoorweg, die vlak langs de kust loopt, verbonden: wie er heen wil, dient te voet te gaan zoo hij geen ezel tot zijn beschikking heeft. Ik denk terug aan dien warmen namiddag in de maand Mei toen wij met ons vieren, na een lange, vermoeiende tocht in de barre zon, bepakt met de zware last onzer rugzakken, zweetdruppelend en een beetje hijgend de stadspoort van Palizzi binnentraden..
Quote from Escher's article about his Calabria trip, in the Dutch magazine 'De Groene Amsterdammer', 23 April, 1932, p 18 – No 2864 (translation of museum 'Escher in the Palais', the Hague)
In the following Autumn and Winter Escher used the many sketches and photos from this trip to make series of woodcuts and lithography https://www.escherinhetpaleis.nl/story-of-escher/from-photo-to-fantasy/?lang=en
1940's

undated quotes, M.C. Escher Foundation

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): 'Nu wou ik je nog wat zeggen over het verband met muziek, en wel in hoofdzaak met die van Bach, d.w.z. de Fuga, of eenvoudiger canon.. .Het heeft heel veel van mijn motieven, die ik ook om verschillende assen laat draaien. Ik heb dat gevoel van relatie, verwantschap, tegenwoordig zoo sterk, dat ik tijdens het luisteren naar Bach, dikwijls geïnspireerd word en een sterke drang naar zijn dwingende ritme voel, een cadans die iets van de eindeloosheid zoekt. In de Fuga is alles gebaseerd op een enkel motief, dikwijls maar van enkele noten. Bij mij draait ook alles om een enkele gesloten contour..
Quote from Escher’s letter, 1940 to his friend Hein 's-Gravezande; as cited (and translated!) on the website of museum 'Escher in the Palace', The Hague: dutch original text https://www.escherinhetpaleis.nl/escher-vandaag and english translation https://www.escherinhetpaleis.nl/escher-today/?lang=en
1940's

1950's, On Being a Graphic Artist', 1953

Quote from Escher's letter to his son, 30 April 1955; as cited in 'Gaining Popularity', in Biography of M.C. Escher http://im-possible.info/english/articles/escher/escher.html - condensed mostly from the biography written by Bruno Ernst M.C. Escher - His Life and Complete Graphic Work, © 1981
27 April 1955 Escher was decorated (in the name of the Dutch Queen) in the 'Knighthood of the Order of Oranje Nassau'
1950's

undated quotes, M.C. Escher Foundation

1950's, On Being a Graphic Artist', 1953