As the noted English pure mathematician, Godfrey Harold Hardy (1877–1947) once said: “Archimedes will be remembered when Aeschylus is forgotten, because languages die and mathematical ideas do not. Trends and fashion in art might change along with human civilisation’s progress, but the truth of mathematics never fades. Further, the wonderful visual impact of the artworks could also be accepted and experienced, even by children. (Without additional explanation, all Escher’s artworks mentioned in this paper refer to his works of mathematical meaning.) This makes his artworks resonate strongly among mathematicians, scientists, artists, and laypeople alike. Both art and mathematics can be seen in the creation process of Escher.
In contrast, mathematics is purely a cold, logical, non-feeling process without any creative input.
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Many people believe that art creation is closely related to “feeling”, where rational thinking can only restrict the full play of artistic talent. Īrt and mathematics are popularly assumed to be distinct subjects, as far apart as is possible. In his native Netherlands, Escher is recognized as the 37th greatest Netherlander amid other honours in recent polls. Evidence of this is that the most popular art exhibit in the world in 2011 was “The Magical World of Escher”, in Rio de Janeiro, Brazil, viewed by over \(500\,000\) people. Today, Escher’s art has found new admirers from around the world. Widespread interest in him skyrocketed in the late 1960s, and onwards. Indeed, it was only much later, in the early 1950s, before Escher gained international fame, with articles in The Studio, Time, Life and an exhibition at the Stedelijk Museum, Amsterdam (1954). However, when Escher subsequently moved on to the mathematical art for which he later became renowned, beginning in 1936 (disregarding some initial studies of 1922 or 1923 that were abandoned), he was still essentially ignored by the art world for many years, indeed, if not dismissed entirely, due to the overt mathematical nature of his work. The art world essentially did not pay much attention to him at all, although he was recognized internationally, from as far back as 1934, at the Art Institute of Chicago, when he won the third prize for his lithograph Nonza.
Compared with Pablo Picasso (1881–1973), Henri Matisse (1869–1954) and other masters at that time, he was ploughing a lone furrow, more like a playful child hiding in the cellar playing visual games on his own. In the era that Maurits Cornelis Escher (1898–1972) flourished, the trend of European modern art, such as Fauvism, Futurism, and Cubism, was surging in different directions.
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