Sources for GWIC

http://www.csun.edu/~lmp99402/Math_Art/Tesselations/tesselations.html

https://www.exploratorium.edu/geometryplayground/Activities/GP_Activities_6-
8/ExploringTessellations_%206-8_v4.pdf

http://www.incredibleart.org/lessons/middle/tessell.htm

https://www.sophia.org/tutorials/design-in-art-repetition-pattern-and-rhythm

http://edtech2.boisestate.edu/meganhoopesmyers/502/virtualtour/history.html
Max Weatherly

GWIC M.C. Escher

Patterns in Art (Tessellations and Sequences)

Throughout time, art has been the epitome of social class and society. The

richest leaders throughout the world would have the best artists paint masterpieces

which would prove to be timeless artifacts. The Renaissance and many other influential

periods had revolutionary ideas which would set the stage and foundation for many

other artists inspiration. Many dabbled in various perspectives, different styles and

different canvases in order to land their work in eternal glory. To be known well after

death, that is what an artist aspires to have happen. One element that has proven to

outlast many others is sequences throughout a piece and various forms of tessellations.

The MC Escher GWIC course covers many types of styles that Escher worked with;

tessellations and patterns being one he favored. His inspiration came from (PLACE IN

BOOK), where he visited multiple times to draw inspiration and revitalize his styles

during artists lulls. These visits would prove to be vital in his career as many of the

inspirations he drew from (PLACE IN BOOK) were translated into his own works.

Not only did Escher master incorporating tessellations in his works, he also

utilized impossible sequences which were aesthetically pleasing but mathematically and

physically impossible structures. These pieces (NAME 2 PIECES) were some of his

greatest works and stimulated the minds of all who behold these works. Not only did

these paintings defy the laws of physics, they were always perfect pieces. Dimensions

being drawn to scale and proportionate to make the vision work but also allow individual

perspective to take over while viewing the wacky and distinct artworks. Whether it is a
tessellated piece or an impossible sequence Escher made his work interpretive and

stand out so each personality saw particular aspects and are drawn to various portions

on the works. For example, in (PIECE ON BACK COVER), some are drawn to the

people walking upside down, some are drawn to contradictory stairs which integrated

gravity and dimension defying orientations. When you seem to follow the proper

bearings, Escher throws that element for a loop. The capabilities of Escher have yet to

be matched.

Eschers Early Life

Early on in life, Maurits Cornelis Escher was not strong in academics, in fact he

hated school, the only upside was the two hours he received of art class weekly. He

struggled in a majority of his classes resulting in failed grades and low scores year after

year. His only gleam of hope was art, and his talents which many overlooked. He was

labeled as too tight, too literary-philosophical, a young man too lacking in feeling or

caprice, too little of an artist. (PAGE 11-12 IN BOOK). After trying various forms of art

and artistic expression, he began forming his path in the art-world. He was more than

mediocre in woodcutting, which deals with precise angles and lines, perhaps lead to his

future works from the education he received during these lessons. His early works and

self portraits along with his woodcutting shows his methodic lines and perfection in

angles as well as perspective. His engravings seem sequential and metered on the self

portrait he created in 1923 (PAGE 15), as to create a flow in the piece for aesthetics. It

was around 1937 that Escher began painting his mathematical pieces that had patterns

and tessellations throughout. These flavors (PAGE 24 BOOK) began taking form with

the development of his work. He began using spatial structures along with flat surfaces
to project his visions. He then began experimenting with pictorial representation

relationships between space and flat surfaces with his tessellations and patterns. After

spending years learning what he was proficient in and what he was not so keen on

helped him find his path and use these special patterns and sequences to display

endless beauty with manipulation in space.

What are Tessellations?

One of Eschers best periods was his expansion and usage of tessellations in his

art. With contradicting colors and patterns as well as special sequences made his work

pop and stand out to viewers. Tessellations were around well before Escher even

picked up a pencil or saw a canvas. Tessellations were used prominently first by

Sumerians in early BC. The patterns would be used for building wall decorations in clay

tiles and decorative mosaic tilings all encapsulated these perfect geometric patterns.

A tessellation is any pattern made of repeating shapes that covers a surface completely

without overlapping or leaving any gaps. A checkerboard is a tessellation made of

squares. The squares meet edge to edge with no gaps and no overlapping areas. The

pattern of bricks on a wall is a tessellation made of rectangles. Over 2,200 years ago,

ancient Greeks were decorating their homes with tessellations, making elaborate

mosaics from tiny, square tiles. Early Persian and Islamic artists also created

spectacular tessellating designs. More recently, the Dutch artist M. C. Escher used

tessellation to create enchanting patterns of interlocking creatures, such as birds and

fish. (SOURCE 2).

Tessellation Works
 Tessellation was further explored in 1619 when Johannes Kepler studied and

documented tessellations. In 1891, Yevgraf Fyodorov created classifications and groups

of isometries. He proved with this groupings that every periodic tiling of the plane

features one of the seventeen groupings. This discovery helped mathematical study of

tessellations explode worldwide, now that everything fit within a concise set of

groupings. MC Escher studied those previous efforts along with his visits to the

Alhambra in order to collaborate inspiration with theory to form his pieces.

Patterns were not common in art during ancient times, patterns made up daily

items. Ancient communities such as Greek, Egyptian, Roman, Mesopotamian, etc.

used art to display religious figures and representations and interpretations of Gods.

Also to depict fabled stories and various other tales and folklore. Islamic art began

using sequences as a backdrop and as intricate designs since it is forbidden to display

religious figures. A drawing of Mohammed would leave you possibly being executed.

So instead of displaying interpretations of what they believed God to be, they drew

various patterns and tessellations. The mindset was not on simple and intricate

patterns rather than images of humans and living things.

Tessellations can be found worldwide, expanding over a variety of cultures.

Initial works can be traced back to the Sumerian civilization of early 4000 B.C.

Tessellations became decorations and parts of the buildings construction.

Tessellations have been found in many of the artistic elements of cultures including the

Arabic, Byzantine, Chinese, Egyptians, Greek, Japanese, Moors, Persians, and

Romans. The Islamic artwork consisted of only abstract geometrical works since the

representation of living objects were forbidden from artwork. While the Roman's artwork
incorporated detailed images of humans and natural scenes (Tour of Tessellations).

This explains why the Alhambra had no human incorporation throughout and only

included shapes rather than figures or living objects. Should an individual portray living

things as well as a God, they would be executed if not dismembered.

Eschers Best Works With Patterns and Tessellations

Some of Eschers best works that dealt with repetitive patterns and sequences

created incredible works that were revolutionary for the time. His works were some of

the most intricate and unique of his era, without any proper mathematical or physics.

Some of his famous works include; Metamorphosis I (1937), Day and Night (1938), Sky

and Water I (1938), Metamorphosis II (1940), Encounter (1944), and his final piece

Snakes (1969). His works regarding mathematical impossibilities and unique figures

include; Double Planetoid (1949), House of Stairs (1951), Gravity (1952), Relativity

(1953), his most intriguing Belvedere (1958), Ascending and Descending (1960).

Escher and Other Artists who use Tessellations and Sequences

Escher was without a doubt the King of Tessellations with his bountiful works

and his mastery of the art, but he is not the only artist to use this method. More recently

Dr. Fathauer created a tessellation artworks using computer generated programs. He

creates the images using mathematical formulas to depict perfect tessellated images,

utilizing both theory and certainty in mathematics along with artistic skills. Many other

individuals who worked with tessellations were focused more with the mathematical

aspect and not primarily on the artistic side like Escher. Islamic styled buildings in the

Middle East and portions of Europe created well before the works of Escher displayed

the inspiration for many artists and architects alike.

The Alhambra

A major influence on his future style and approach to his art was through his visits to the

Alhambra, in Spain. Escher loved the beauty of the Moorish culture with the carved

wood, and patterned tiles. No human figures were used, as portraits of man were not to

be used in art bigger than a notebook. Idolizing individuals was against the cultures of

Moors. Large rectangles with intricate patterns throughout were commonly used in the

major halls and corridors of the Alhambra. The techniques were derived from the

natural beauty surrounding the palace. The designs were taken from nature ie. flowers,

trees, waterways, landscapes, etc. These natural elements played a huge role in the

creation of the artwork. Mimicking the elegance and free flowing of the nature in which

this architectural structure was constructed in the middle of, a sense of the world is

displayed throughout the halls of the building. Escher took these works, and these

techniques and studies to good use creating impossibilities in his artwork while

incorporating natural ideas and entities. Though his initial visit was a mere sightseeing

venture, Escher returned with a new profound vision for his pathway in art. After

frequent travels around the world to various art capitals, he returned to the Alhambra

spending days at a time drawing the mosaic patterns. He studied these tessellations

and patterns becoming fascinated and obsessed with the mathematical perfection of the

images. Though not mathematically proficient, Eschers works have been the highlight

of mathematical studies and exploration. Along with the introduction of nature and a

worldly landscape from the Alhambras interior, Eschers inspirations were drawn from

the world around him.

The usage of pattern in art has never taken the focus of the whole piece but as a solid
backdrop to more important figure. Through the Alhambra and many of Eschers works,
patterns began taking shape as the art itself. Patterns and the mathematical
impossibilities Escher created from his studies began exploration in new fields.
Unfortunately, the art community did not appreciate the works and disregarded him as
a peer. His works began gaining recognition upon the discovery by the physics and
math community, which grew to worldwide recognition. The Hippie movement and the
era of free thinking created a support for Eschers works which were comprised of
tessellated figures and physically impossible, yet aesthetically pleasing designs.
Eschers works may not have been traditional art but his works have substance in
which supplementary education helps create a complete understanding of the mystery
in his works.