M. C. Escher Quotes

To tell you the truth, I am rather perplexed about the concept of "art]. What one person considers to be "art" is often not "art" to another. "Beautiful" and "ugly" are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only "kitsch" is not art — we're all agreed about that. Indeed, but what is "kitsch"? If only I knew!

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): Mijn werk heeft niets met de mens, niets met psychologie te maken. Ik ben veel cerebraler dan . Ik wens helemaal niet diep te zijn. Ik weet dat ik in dit werk niets verberg. Als Carel Willink een naakte juffrouw in een straat schildert, denk ik: wat heeft die juffrouw daar te maken?.. ..de gevels maken op mij de indruk van iets lugubers. Het is dus een lugubere straat. Mijn werk is niet luguber. Als je Willink vraagt: waarom zijn die naakte juffrouwen daar, krijg je geen antwoord. Bij mij krijg je altijd antwoord als je vraagt: waarom..

I don't use drugs, my dreams are frightening enough.

As long as there have been men.. ..upon this globe.. ..we have held firmly to the notion of.. ..all of which must continue to be everlasting in time and infinite in space.

My work is a game, a very serious game.

I should like to end this description of the stars with the Pleiades, which I once saw rising up out of the sea. When and where in Holland is the atmosphere ever so free from dust and mist that you can see the stars clearly right down to the horizon? One evening I saw a point of light appearing on the horizon, followed a moment later by another one. I thought they were the lights of a ship sailing by in the distance. But then a third light appeared, and a fourth, and finally there were seven altogether; it was then that I recognised the Pleiades, making for the heavens in full sail, like a ghost ship.

«It is impossible for the inhabitants of different worlds to walk or sit or stand on the same floor, because they have differing conceptions of what is horizontal and what is vertical. Yet they may well share the use of the same staircase. On the top staircase illustrated here, two people are moving side by side and in the same direction, and yet one of them is going downstairs and the other upstairs. Contact between them is out of the question because they live in different worlds and therefore can have no knowledge of each other's existence.»

Sometimes, just before I fall asleep at night, I have a beautiful vision. In my imagination I see the earth floating like an enormous orange, stately and still, in the pure emptiness surrounding her. I see her slowly rotating, always lit up and warmed on one side by her mother, the sun. Ribbons and shreds of cloud float around her, and between these the seas and the multi-coloured continents, with their humid plains and snowy mountaintops, sparkle and shimmer. And I see the hot, yellow deserts and the frozen polar icecaps.
I am so far removed from the beautiful earth that the people scurrying around in their cities are of course no longer visible. Whether this is such a good thing as it seems to be at the time is open to question. But it is a fact that my vision is so beautiful, so restful and so full of peace that I usually fall asleep soon afterwards.
That is why this also seems to be the right moment to end my story, at least for today,

We do not know space. We do not see it, we do not hear it, we do not feel it. We are standing in the middle of it, we ourselves are part of it, but we know nothing about it.

I believe that producing pictures, as I do, is almost solely a question of wanting so very much to do it well.

I want to find happiness in the tiniest of things - a minute moss plant, 2 cm across, on a rock - and I want to try to do what I've been wanting to do for so long, that is, to copy these infinitesimally small things as precisely as possible and to be aware of their size.

After the first proof [of 'Sphere Spirals'] my high expectations were, as always, greatly disappointed. I am now struggling on - with some feeling of despair - so that I at least achieve a passable result.

I do indeed believe that there is a certain contrast between, say, people in scientific professions and people working in the arts. Often there is even mutual suspicion and irritation, and in some cases one group greatly undervalues the other. Fortunately there is no one who actually has only feeling or only thinking properties. They intermingle like the colors of the rainbow and cannot be sharply divided. Perhaps there is even a transitional group, like the green between the yellow and the blue of the rainbow. This transitional group does not have a particular preference for thinking or feeling, but believes that one cannot do without either the one or the other. At any rate, it is unprejudiced enough to wish for a better understanding between the two parties... It is clear that feeling and understanding are not necessarily opposites but that they complement each other.

I don't grow up. In me is the small child of my early days.

version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): 'Nu wou ik je nog wat zeggen over het verband met muziek, en wel in hoofdzaak met die van Bach, d.w.z. de Fuga, of eenvoudiger canon.. .Het heeft heel veel van mijn motieven, die ik ook om verschillende assen laat draaien. Ik heb dat gevoel van relatie, verwantschap, tegenwoordig zoo sterk, dat ik tijdens het luisteren naar Bach, dikwijls geïnspireerd word en een sterke drang naar zijn dwingende ritme voel, een cadans die iets van de eindeloosheid zoekt. In de Fuga is alles gebaseerd op een enkel motief, dikwijls maar van enkele noten. Bij mij draait ook alles om een enkele gesloten contour..