M.C Escher: Engravings (1898- 1972)

     The 

         Graphic 

                Work

      Anyone who applies himself, from his early youth, to the practice of graphic techniques may well reach a stage at which he begins to hold as his highest ideal the complete mastery of his craft. Excellence of craftsmanship takes up all his time and so completely absorbs his thoughts, that he will even make his choice of subject subordinate to his desire to explore some particular facet of technique. True enough, there is tremendous satisfaction to be derived from the acquisition of artistic skill and the achievement of a thorough understanding of the properties of the material to hand, and in learning with true purposefulness and control to use the tools which one has available - above all, one's own two hands! I myself passed many years in this state of self-delusion. But then there came a moment when it seemed as though scales fell from my eyes. I discovered that technical mastery was no longer my sole aim, for I became gripped by another desire, the existence of which I had never suspected, Ideas came into my mind quite unrelated to graphic art, notions which so fascinated me that I longed to communicate them to other people. This could not be achieved through words, for these thoughts were not literary ones, but mental images of a kind that can only be made comprehensible to others by presenting them as visual images. Suddenly the method by which the image was to be presented became less important than it used to be. However, one does not of course study graphic art for so many years to no avail; not only had the craft become second nature to me, it had also become essential to continue using some technique of reproduction that would enable me to communicate simultaneously to a large number of my fellow men that which I was aiming at.  If I compare the way in which a graphic sheet from my technique period came into being with that of a print expressing a particular train of thought, then I realize that they are almost poles apart. What often happened in the past was that I would pick out from a pile of sketches one which seemed to me suitable for reproduction by means of the same technique that was interesting me at that moment. But now it is from amongst those techniques which I have to some degree mastered, that I choose out the one which lends itself more than any other, to the expression of the particular idea that has taken hold of my mind.

Concentric rinds, 1954 wood engraving

Nowadays the growth of a graphic image can be divided into two sharply defined phases. The process begins with the search for a visual form that will interpret as clearly as possible one's train of thought. Usually a long time elapses before I decide that I have got it clear in my mind. Yet a mental image is something completely different from a visual image, and however much one exerts oneself, one can never manage to capture the fullness of that perfection which hovers in the mind and which one thinks of, quite falsely, as something that is "seen". After a long series of attempts, at last - when I am just about at the end of my resources - I manage to cast my lovely dream in the defective visual mould of a detailed conceptual sketch. After this, to my great relief, there dawns the second phase, that is the making of the graphic print; for mow the spirit can take its rest while the work is taken over by the hands. In 1922, when I left the school of Architecture and Ornamental Design in Haarlem, having learnt graphic techniques from S. Jessurun de Mesquita; I was very much under the influence of this teacher, whose strong personality certainly left its mark on the majority of his pupils. At that period the woodcut (that is to say the cutting with gouges in a side-grained block of wood, usually pear) was more in vogue with graphic artists than is the case today. I inherited from my teacher his predilection for side-grained wood, and one of the reasons for my everlasting gratitude to him stems from the fact that he taught me how to handle this material. During the first seven years of my time in Italy I used nothing else. It lends itself, better than the costly end-grained wood, to large-side figures. In my youthful recklessness I have gouged away at enormous pieces of pearwood, not far short of three feet in length and perhaps two feet wide. It was not until 1929 that I made my first lithograph, and then in 1931 I tried my hand for the first time at wood-engraving, that is to say engraving with burins on an end-grain block. Yet even today the woodcut remains for me an essential medium. Whenever one needs a greater degree of tinting or colouring in order to communicate one's ideas, and for this reason has to produce more than one block, the woodcut offers many advantages over wood-engraving, and there have been many prints I could not have produced had I not gained a thorough knowledge of the advantages of side-grained wood. In making a colour-print I have often combined both of these raised relief techniques, using end-grain for details in black, and side-grain for the colours. The period during which I devoted such enthusiasm to my research into the characteristics of graphic materials and during which I came to realize the limitations that one must impose on oneself when dealing with them, lasted from 1922 until about 1935. During that time a large number of prints came into being (about 70 woodcuts and engravings and some 40 lithographs). 

The greater number of these have little or no value now, because they were for the most part merely practice exercises; at least that is how they appear to me now. The fact that, from 1938 onwards, I concentrated more on the interpretation of personal ideas was primarily the result of my departure from Italy. In Switzerland, Belgium and Holland where I successively established myself, I found the outward appearance of landscape and architecture less striking than those which are particularly to be seen in the southern part of Italy. Thus I felt compelled to withdraw from the more or less direct and true to life illustrating of my surroundings. No doubt this circumstance was in a high degree responsible for bringing my inner visions into being. On one further occasion did my interest in the craft take the upper hand again. This was in 1946 when I first made the acquaintance of the old and highly respectable black art technique of the mezzotint, whose velvety dark gray and black shades so attracted me that I devoted a great deal of time to the mastery of this copper-plate intaglio, a process that has today fallen almost entirely into disuse. But before long it became clear that this was going to be too great a test of my patience. It claims far too much time and effort from anyone who, rightly or wrongly, feels he has no time to lose. Up to the present I have, in all, produced no more than seven mezzotints, the last one being in 1951.  I have never practiced any other type of intaglio. From the moment of my discovery, I have deliberately left etching and copper-plate engraving to one side. The reason for this can probably be traced to the fact that I find it preferable to delineate my figures by means of tone-contrast, rather than by linear contour. The thin black line on a white background, which is characteristic of etching and copper-engraving, would only be of use as a component part of a shaded area, but it is not adequate for this purpose. Moreover, with intaglio, one is much more tied to white as a starting point than is the case with raised relief and planography. The drawing of a narrow white line on a dark surface for which raised relief methods are eminently suitable, is practically impossible with intaglio, while on the other hand, a thin black line on a white background can be satisfactorily achieved, albeit as a rather painstaking operation, in woodcuts and wood-engravings. The ideas that are basic to them 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. Although I am absolutely without training or knowledge in the exact sciences, I often seem to have more in common with mathematicians than with my fellow artists.

       

                   On reading over what I wrote at the beginning of this introduction, about the particular representational character of my prints, I feel it may be rather illogical to devote so may words to it, not only here but also beside each separate reproduction as well. It is a fact, however, that most people find it easier to arrive at an understanding of an image by the round-about method of letter symbols than by the direct route. So it is with a view to meeting this need that I myself have written the text. I am well aware that I have done this very inadequately, but I could not leave it to anyone else, for - and here is yet another reason for my astonishment - no matter how objective or how impersonal the majority of my subjects appear to me, so far as I have been able to discover, few if any of my fellow-men seem to react in the same way to all that they see around them.