M. C. Escher

Bool 426

Belvedere (1958) is one of M.C. Escher’s most striking explorations of visual paradox and spatial impossibility. At first glance, the print depicts a seemingly logical architectural structure, but closer inspection reveals profound contradictions that defy the rules of perspective and geometry. The building, inspired by a photograph taken by Escher's son Arthur in Sicily, challenges the viewer’s perception with its impossible connections and spatial inconsistencies.[i]

Escher (1898-1972) was a Dutch artist renowned for his mathematical approach to art, merging scientific precision with an imaginative and almost mystical vision. His work was deeply methodical, driven by an insatiable curiosity and a rigorous exploration of order and symmetry. Although not a trained mathematician, he was fascinated by the principles of geometry, perspective, and tessellation, which he explored throughout his career. He once stated, ‘I do not strive for beauty, but for wonder’, emphasizing his desire to challenge perception rather than simply create aesthetic images. His prints often function as intellectual puzzles, drawing the viewer into a world that operates by its own set of rules.[ii]

Belvedere fits seamlessly into Escher’s broader oeuvre, exemplifying his mastery of illusion and paradox. The central deception in the piece lies in its architectural contradictions: the columns that appear logically arranged yet form an impossible structure when viewed as a whole. The seated figure in the foreground holds a cube-like shape that encapsulates this illusion, serving as a visual clue to the artwork’s deeper mystery. This object, known as an impossible cube, is a combination of two perspectives that cannot coexist in three-dimensional space. The manipulation of perspective extends beyond the cube to the entire architectural composition, where seemingly stable elements dissolve into spatial impossibilities upon closer inspection.[iii]

Escher’s ability to blend logic with fantasy is a defining feature of his artistic vision. His fascination with paradox reflects his broader philosophical exploration of reality and perception. He sought to create works that make the viewer question their understanding of space and structure. The architectural impossibilities in Belvedere are further camouflaged by carefully placed details, such as the balustrade and the position of the ladder, which mislead the eye and delay the realization of the print’s impossibility.[iv]

This theme of spatial contradiction appears throughout Escher’s work. His work remains a testament to his unique ability to visualize the impossible, offering viewers a glimpse into a world where the laws of physics are rewritten through artistic imagination.

[i]  J. W. Vermeulen, Maurits C. Escher: Een Eigenzinnig Talent (Kampen: Kok Lyra, 1995): 200-201.

[ii] Ibid., 222-223.

[iii] Professor Dr.  P. Terpstra, M.C. Escher (Heinz moos verlag heindelberg, 1962): 36.

[iv] J. L. Locher, De Werelden Van M.C. Escher (Amsterdam: Meulenhoff, 1971): 17-18.