Robbi Rodemann

2/10/17
Dr. Edmonds
ETLA 350

M.C. Eschers lithograph Reptiles was created in 1943. The lithograph features two main

types of art forms that Escher was known for: tessellation and simultaneous worlds. The two art

forms interact in the one art piece to create a unique perspective of bringing artwork to life.

The scene depicted in Reptiles incites inquiries on the perception of animation and life in artwork

through the transitions from two to three dimensional techniques.

To begin, the drawing is done completely in a black and white color scheme. Initially one

can observe that the piece has several books in it. The base of the whole piece appears to be a

flat, gray surface with no detail or distinctions drawn to it. On top of this dull gray surface is

what appears to be a long, wide plain book of sorts. The book appears to be thin with no apparent

hard cover or printed text. These details contribute to the idea that the book shown is a drawing

notebook. The left sided page of the open notebook exhibits a tessellation of reptilian creatures

drawn with no clear indicator of medium and a partially hidden inscription. On top of the

notebook are two other hardcover books. One book appears smaller and further in the

background of the drawing. It is flipped open down the middle with indistinguishable text. The

other book is sitting cater-corner to the edge of the drawing notebook. The title is partially

hidden but appears to touch on the subject of nature. Atop the crease of the drawing notebook is

a three dimensional dodecahedral object made up of pentagons. A flat, long triangular object with

a circular hole at the base rests across the book and multi-faced object creating a bridge. Five

objects rest on the outskirts of the drawing notebook: a bottle with a cork stopper, a small glass, a
pot of cacti, a small booklet reading JOB, and a reflective bucket containing two smaller

boxes. All of the objects seen in the picture seem to encompass the tessellation in a circular

pattern. Most notably about the piece, however, is that there are reptilian creatures exhuming

from the bottom of the 2D tessellation, climbing about the surrounding objects, then appearing to

return to the tessellation in which they originated. This interaction between the tessellation drawn

within the artwork and the reptilian creatures living amongst the art creates a surrealistic image

showcasing simultaneous worlds.

The 2D tessellation within the artwork has many important details to take note of. The

tessellation consumes nearly the entire left sided page of the notebook as it ends at the crease

with only a small margin of the page at the bottom left blank. The tessellation is completed by

the bodies of the reptiles rotating approximately 120 degrees on a vertex on the corner of each of

the creatures faces. It is composed of identical reptilian or amphibious-like creatures featured in

three shades white, light gray, and dark gray all with rounded black eyes. The creatures

body consists of six appendages to the torso including a head, a tail, and four legs. Each

individual creature has a five sided head with a short, blunt narrowing end that seems to act as

the nose. Two long lines run parallel to one another from the base of the head to the tip of a

creatures tail. Two short lines perpendicular to the base of each foot distinguish three toes per

foot. Minimal lines are drawn elsewhere on each creature to discern creases in joints and

ligaments. Overall, the creatures could be seen as simplistically drawn entities vaguely

resembling a variety of possible real-life species including salamanders or lizards.

In contrast to the 2D tessellated reptiles are the 3D reptiles that erupt from the drawing.

The 3D reptiles feature the same general corporeal form of their 2D counterparts with the five
sided head and six limbed body. However, several distinctions separate them as the clearly

evolved reptile. As the reptile emerges from the edge of the paper drawing, more bodily details

immediately follow. The face becomes less indistinct and docile as the feet and body become

more scaly and rigid. The head itself appears to have five dimensions to it including a top,

bottom, left, right, and front side. Eyes appear on both left and right sides of the head in an

oblong, horizontal fashion. The backs of the eyes are white with the black pupils slitted

vertically. Two nostrils are drawn on the smaller blunt end of the face indicative of a nose. The

sides of the face each feature a thin black line suggestive of a mouth. This mouth is complete

with two tusks protruding shortly behind the nostrils closer to the center of the head on both the

left and right sides. Four clawed toes on each foot forms, which runs in contrast to the 2D

reptiles three partitioned toes. While the creature has scales covering its entire body, four

columns of distinctly plated scales covers its back. A further upraised, thin line of scales

segregates the four columns with two columns of scales on either side. This partitioning medial

line of scales is reminiscent of the two long lines that covered the backs of the 2D creatures. The

reptilian creatures additional detailing makes it more distinguishable as relating to a possible

real-life species One of the creatures appears to be breathing out a white puff of smoke or steam.

This imagery perhaps is meant to divulge that these creatures are indeed living as they breath out

air; however, it does lead more to question about its origins. The encompassing scales, clawed

feet, blunt nose, top-facing nostrils, long tail, and slitted eyes are all indicative of a crocodile or

alligator. However, these species have five claws instead of four, do not exhale smoke, or have

elongated teeth protruding clearly from their mouths.While these 3D reptiles appear more

distinctly drawn, they too are a mysterious species known only to the artist.
 The objects surrounding the tessellation may give an insight to the artists inspiration for

the piece. The hardcover book with the partial title Nature may be represented to show where

the artist came to the idea of drawing animals. The cacti allude to desert habitats which could

have inspired the drawing of reptiles. The landscape of how the objects are orientated and the

path the reptiles walk may also be significant. The objects are placed in a half circle so when the

reptiles crawl out of the tessellation, they may simply step onto the first book, walk over the

triangle, follow the platonic solid, crawl into the bucket, then leap back into the tessellation. The

circular pathway may allude to a circle of life that all living entities endure since the reptiles

are only alive when they are walking that trail. The small object labelled JOB is considered

an allusion to the biblical Book of Job, which speaks of powerful creatures created by God.

However, it is also believed to simply be nothing more than a box of Belgian cigarette papers

(Escher & Taschen, 2001).

Reptiles leaves several interpretations to be pondered. The selective disarray of displayed

objects amongst a lively piece of art reveals an insight into the mystical mind of M.C. Escher.

Eschers integration of styles creates an intriguing balance between challenging the minds

perception of reality and appeasing the eyes desire to be filled with beauty.
 References

Escher, M. C., & Taschen. (2001). M. C. Escher: The Graphic Work. Taschen.