WEBVTT - MC Escher and His Trippy Art

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<v Speaker 1>Welcome to Stuff You Should Know, a production of Five

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<v Speaker 1>Heart Radios How Stuff Works. Hey, and welcome to the podcast.

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<v Speaker 1>I'm Josh Clark, and there's Charles w Chuck Bryant, there's

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<v Speaker 1>Jerry over there, and this is Stuff You Should Know.

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<v Speaker 1>The Arts C edition is Jerry broom Tone. Roland. Yeah,

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<v Speaker 1>I think that's make believe stuff. Room tone. Yeah. She

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<v Speaker 1>might as well be like, let me capture a few

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<v Speaker 1>fairies in this, Mason Jark. First, I think it's the

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<v Speaker 1>same thing we made does in the final edit. I

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<v Speaker 1>don't know what it is about to explain to everyone.

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<v Speaker 1>Room tone is you do this on film sets and

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<v Speaker 1>in studios where you just make everyone sit completely silently

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<v Speaker 1>while you capture the sound of the room. So I

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<v Speaker 1>guess you can. What do you do with that? Jerry

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<v Speaker 1>layer it in in case you needed or something. Did

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<v Speaker 1>you hear that? Everyone? She said, she cleans up the

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<v Speaker 1>background to everybody listening, it sounded like there's something about it, though.

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<v Speaker 1>It's like being in church and getting the giggles, like

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<v Speaker 1>it's really hard, especially on the film, so when there's

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<v Speaker 1>like fifty people standing around being completely silent and farting,

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<v Speaker 1>I suspect it's strictly a power trip. You think the

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<v Speaker 1>person calling for a room tone, that's what I think.

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<v Speaker 1>I'm gonna start doing that my house when things get

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<v Speaker 1>out of hand. Room tone. Don't make me bust out

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<v Speaker 1>the room tone on you. Well, since we're no, I

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<v Speaker 1>was gonna stay. Since we're talking about room tone, obviously,

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<v Speaker 1>the topic today is mc escher, who was well known

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<v Speaker 1>for going berserk anytime someone asked him to be quiet

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<v Speaker 1>for room tone. You had trash chairs, grab reptiles straight

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<v Speaker 1>out of the two dimensions and throw them into the

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<v Speaker 1>third dimension to steal all sorts of weird stuff. That's funny.

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<v Speaker 1>Did you think so that was a joke just for you? Yeah,

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<v Speaker 1>so he everyone knows mc esure. If you've ever been

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<v Speaker 1>to college or taking drugs or sold drugs to somebody

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<v Speaker 1>in college, then you've probably seen hands drawing hands or uh,

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<v Speaker 1>I mean, that's not what the name of that one was,

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<v Speaker 1>but it's called drawing hands, is it? Or the Some

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<v Speaker 1>of his more famous ones are the these impossible rooms,

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<v Speaker 1>like stairs that lead to sideway stairs but you've gotta

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<v Speaker 1>wrap your head around it in a certain way to

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<v Speaker 1>even make sense of it, all right, or stairs that

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<v Speaker 1>lead into other stairs that lead back into the other stairs.

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<v Speaker 1>It is constant or I'm a big fan of that

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<v Speaker 1>one self portrait he did in the the Sphere. Yeah there,

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<v Speaker 1>the mirror Sphere. Mirror Sphere. Yeah, it's cool, it is

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<v Speaker 1>very cool. I'm not crazy about the face, even though

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<v Speaker 1>I'm sure he did it exactly precise, but the hand,

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<v Speaker 1>if you look at the hand, it's really realistic. It's

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<v Speaker 1>very pretty. Yeah, I mean, I'd like this stuff. This

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<v Speaker 1>is not my style, as in anything I would put

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<v Speaker 1>on my walls these days, but I still think he's

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<v Speaker 1>one of the like coolest, more innovative artists out there.

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<v Speaker 1>And there's a great factoid that I hope will hold

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<v Speaker 1>till the end, which are not the end, but kind

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<v Speaker 1>of where it falls in our So what is what

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<v Speaker 1>is factory mean against? I mean, you've killed ten percent

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<v Speaker 1>of all the facts and this is just one of

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<v Speaker 1>the percent remaining. That's right, Okay, gotcha. So um. One

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<v Speaker 1>of the things you chalk about m c es sure

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<v Speaker 1>that I found was that if you were impressed by

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<v Speaker 1>his work, prepared to get exponentially more impressive. We talked

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<v Speaker 1>about how he made those works too. That's the fact

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<v Speaker 1>of the show. For me. Okay, that's the fact. Got

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<v Speaker 1>hold onto that. Sure, Sure, I was just teasing it

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<v Speaker 1>a little bit. I didn't know that's what you're talking about,

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<v Speaker 1>although I should have guessed. So this is us talking

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<v Speaker 1>about an artist, which means that we should probably talk

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<v Speaker 1>about the artist being born. Um. And in the case

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<v Speaker 1>of mc Escher, whose name, by the way, was more

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<v Speaker 1>it's uh Cornelis. I want to say Cornelius, but there's

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<v Speaker 1>no you in there. Sure I nailed the last name,

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<v Speaker 1>but I'm spoke on name. Oh you didn't say nailed

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<v Speaker 1>the last name. This is the point where the people say,

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<v Speaker 1>get to the point already, Well we are at that point.

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<v Speaker 1>That's m C. And then Escher born June not nineteen nine.

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<v Speaker 1>As as the Grabster put it was like mans he

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<v Speaker 1>was born in leeu Warden, Netherlands, grew up in arn Him,

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<v Speaker 1>which is about sixty miles southeast of A. Yeah, I

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<v Speaker 1>mapped all this stuff out kind of that general area.

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<v Speaker 1>You went on a little Google tour. Uh. And he

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<v Speaker 1>signed even from early on as m CE. He signed

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<v Speaker 1>his paintings, although people called him mock m a UK

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<v Speaker 1>friends and family right, which didn't mean anything, ed points out,

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<v Speaker 1>but it's just like, you know, an affectionate term for Morrit's. Yeah,

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<v Speaker 1>is it Maurits probably Marites, Marit's cornellis Escher. But he

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<v Speaker 1>could also go the way of Morris. So is it

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<v Speaker 1>Morrit's more? I don't know. I wish, I wish I knew. Well,

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<v Speaker 1>what we do know is that, uh, in this we

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<v Speaker 1>should put a pin in because it's sort of plays

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<v Speaker 1>a big part in how he pursued his art. But

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<v Speaker 1>his dad had some money. He was a rich kid. Yeah,

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<v Speaker 1>for sure, which really helps, as we'll see as he's

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<v Speaker 1>trapesing around Europe on dad's time, slowly getting better at

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<v Speaker 1>art slowly. Yeah, that's a good point because he was

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<v Speaker 1>not great in school. He did love drawing class, but

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<v Speaker 1>apparently wasn't you know, he didn't have his second grade

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<v Speaker 1>teachers falling over themselves about what a talented artist he was. No,

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<v Speaker 1>and apparently he also didn't consider himself much of an artist,

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<v Speaker 1>although he engaged in art like he he did produce

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<v Speaker 1>art from a very young age. He was terrible in

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<v Speaker 1>school except that math and a drawing. Apparently, when he

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<v Speaker 1>was in grade school primary school he failed his finals,

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<v Speaker 1>all of them except for math and I read that

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<v Speaker 1>his father noted in his journal with some affection that

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<v Speaker 1>his son consoled himself by producing a Lena type of

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<v Speaker 1>a sunflower. That's how he made himself feel better after

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<v Speaker 1>after failing out of school. Well, and he he was

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<v Speaker 1>somewhat adept at math early on, but um, it's interesting

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<v Speaker 1>his his work is highly mathematical as far as art goes.

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<v Speaker 1>But later on in life, when he was confronted with

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<v Speaker 1>real mathematicians, he would sort of be like, no, not

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<v Speaker 1>me a man, Like I'm an artist. Well, I'm not

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<v Speaker 1>that kind of mathematician, so I said yes, But he

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<v Speaker 1>was most of his friends or mathematicians. For most of

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<v Speaker 1>his career, he was mostly appreciated by mathematicians and scientists.

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<v Speaker 1>Those are the people who really vibed on his work.

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<v Speaker 1>And that came later. Okay, that Camel remaining out real popular. Um,

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<v Speaker 1>but I saw that somebody made a movie called any

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<v Speaker 1>Into Infinity. It's a documentary, a full length documentary, I

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<v Speaker 1>believe the whole things on YouTube. Um, and it starts out.

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<v Speaker 1>The trailer starts out with Graham Nash saying, Hey, I

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<v Speaker 1>called up mc escher one day just to say, Mr Esher,

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<v Speaker 1>I think you're a really great artist, That's all I

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<v Speaker 1>wanted you to say. And he said, I don't consider

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<v Speaker 1>myself an artist. I consider myself a mathematician. Oh really, yes,

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<v Speaker 1>So I'm going with Graham Nash's interpretation. Spoke to him directly. Yeah, yeah,

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<v Speaker 1>I mean it's crazy. He I mean, not to spoil anything,

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<v Speaker 1>but he died, uh in just seventy three, So you know,

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<v Speaker 1>if he would have lived to his like mid eighties,

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<v Speaker 1>which is somewhat reasonable, Um, he he would have been

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<v Speaker 1>like alive in the eighties, which just seems so weird.

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<v Speaker 1>It does seem kind of weird, you know. Yeah, because

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<v Speaker 1>he was he seems counter cultural for sure, even though

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<v Speaker 1>his his personality was not very counter cultural. Um, and

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<v Speaker 1>he didn't really have much love for hippies. In fact,

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<v Speaker 1>he later said that the hippies in San Francisco are

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<v Speaker 1>legally making copies of my work. Um. He didn't exactly follow,

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<v Speaker 1>you know, the normal usual beat throughout his lifetime. And

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<v Speaker 1>he was he was. He was a mathematician. He was

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<v Speaker 1>a bit of a square, but he was also a

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<v Speaker 1>very imaginative square. That's right. I was trying to make

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<v Speaker 1>a square joke, but it's not coming to me. Remember

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<v Speaker 1>that show Square Peg Square Peg Square Square pegs Sarah

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<v Speaker 1>Jessica Parker was she and that she was also and

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<v Speaker 1>girls just want to have fun, that's right. Yeah, And

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<v Speaker 1>I'm going to see her on Broadway next spring really yeah.

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<v Speaker 1>She and her husband are co starring in uh Plaza

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<v Speaker 1>Sweet and Neil Simon's Plaza Sweet. Very nice, very excited

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<v Speaker 1>about that. But I'm trying to align it with a

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<v Speaker 1>Bonnie Prince billy show, but that they're like a week apart,

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<v Speaker 1>and I'm like, I can't just stay in there a

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<v Speaker 1>lot of time to kill, especially when there's hourly flights

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<v Speaker 1>between Atlanta New York. I know, I may just go

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<v Speaker 1>see Bonnie princeci Billion come home because he didn't play much.

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<v Speaker 1>But that's a story for another day, all right. So

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<v Speaker 1>he goes to school at Technical College of delf Um,

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<v Speaker 1>not for very long, and then he went to the

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<v Speaker 1>Harlem with two A's School of Architecture and Decorative Arts,

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<v Speaker 1>which is west of Amsterdam, not Harlem, New York. Well,

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<v Speaker 1>I think that's what the Harlem, New York is named after, right, Yeah,

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<v Speaker 1>that's where Bonnie Prince. He's at town Hall. Actually, how

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<v Speaker 1>is that right? Yeah? We played there, it's right, I

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<v Speaker 1>gotta stank on that joint. So his dad said, you know,

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<v Speaker 1>because you know, his dad had a lot of money

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<v Speaker 1>and made money. And even though you want to support

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<v Speaker 1>your kids, you want the you want to try and

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<v Speaker 1>edge them into something. If you're that kind of dude,

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<v Speaker 1>that that might be lucrative. So he said, hey, you

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<v Speaker 1>like to draw shapes, why don't you go study architecture.

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<v Speaker 1>And he did that for a little while, even though

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<v Speaker 1>he wasn't super into it. But while at school there

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<v Speaker 1>he had a very fortunate meeting by being mentored by

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<v Speaker 1>one Samuel just Serin Demisquita, who would be his mentor,

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<v Speaker 1>who noticed some of his early art. I'm not sure

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<v Speaker 1>how he saw it, but he took one look at

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<v Speaker 1>Esher's art and said, you don't need to go into architecture.

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<v Speaker 1>Come study under me and learn graphic design. And so

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<v Speaker 1>Escher did. He became a graphic designer, which he whether

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<v Speaker 1>he knew it or not, he had been his whole

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<v Speaker 1>life up to that point. All of his work is

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<v Speaker 1>very graphic in nature and design. Yeah, it really really is.

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<v Speaker 1>But I'm sure his dad in the early, you know,

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<v Speaker 1>nineteen twenties was probably like is that even a thing, right?

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<v Speaker 1>That sounds made up? But well, his dad also, I

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<v Speaker 1>don't know if you said or not, was a civil engineer,

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<v Speaker 1>so of course he would be like, you draw, just

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<v Speaker 1>go to architecture. That's what I know, civil engineering, and

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<v Speaker 1>there's architects in the world. Just go do the other

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<v Speaker 1>thing that I don't do. And he probably thought graphic

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<v Speaker 1>design just meant like you're gonna make signs, right or

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<v Speaker 1>post his stamps or Christmas paper, which he did later on.

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<v Speaker 1>That's right, So he made a little bit of dough.

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<v Speaker 1>So in the early nineteen twenties he started on his

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<v Speaker 1>uh sort of a rich kid journey, traveling around Europe

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<v Speaker 1>on his dad's time on a gap year that was

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<v Speaker 1>really really long, very long. But on one of these

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<v Speaker 1>trips he went to a couple of places that would

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<v Speaker 1>end up having a big influence on him. One in

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<v Speaker 1>Spain at the Alhambra, uh, and then just traveling through

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<v Speaker 1>southern Italy through the countryside. Yeah, he just fell in

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<v Speaker 1>love with Italy. Yeah, but in Spain this is this

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<v Speaker 1>is one that didn't bear fruit right away. But he

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<v Speaker 1>was really fascinated by these mosaics and tesselations which are

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<v Speaker 1>described as okay, they are repeating designs that interlock with

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<v Speaker 1>one another, leave no space between one another, and that

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<v Speaker 1>when you fit them together they fully cover a plane,

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<v Speaker 1>which is harder to do than you would think. Yeah, Like,

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<v Speaker 1>if you've ever seen the ess er fish um sort

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<v Speaker 1>of tessellation, the white fish and the black fish kind

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<v Speaker 1>of working in one another, Yeah, that's a perfect example.

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<v Speaker 1>And he would do this a lot later on. If

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<v Speaker 1>you've ever played Cuberta, that's those cubes or tessellations a

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<v Speaker 1>certain kind. But he got really into this, even though

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<v Speaker 1>it wasn't like right away that he started doing these things.

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<v Speaker 1>That sort of came a little bit later. But what

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<v Speaker 1>he did do was started drawing the Italian countryside because

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<v Speaker 1>he loved it. Loved it. I mean like he he

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<v Speaker 1>went to Italy, it was like this is my home,

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<v Speaker 1>and he was Quota at one point in time is

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<v Speaker 1>saying like he never wanted to become an Italian among Italians.

0:12:39.480 --> 0:12:42.880
<v Speaker 1>He liked being a stranger um, but he loved Italy,

0:12:43.200 --> 0:12:45.319
<v Speaker 1>which is an interesting thing to say. I'm not exactly

0:12:45.360 --> 0:12:47.000
<v Speaker 1>sure what it means. I think what he was saying

0:12:47.120 --> 0:12:52.319
<v Speaker 1>was he's he he likes being a visitor to Italy

0:12:53.000 --> 0:12:57.160
<v Speaker 1>rather than there's a certain amount of responsibility that comes

0:12:57.160 --> 0:12:59.000
<v Speaker 1>with being one of us, you know what I mean.

0:12:59.360 --> 0:13:01.360
<v Speaker 1>Whereas if you can be like that guy over there,

0:13:01.440 --> 0:13:03.760
<v Speaker 1>who will accept him, We're not going to throw rocks

0:13:03.840 --> 0:13:05.360
<v Speaker 1>him every time we see him or anything like that,

0:13:05.400 --> 0:13:07.280
<v Speaker 1>and we'll take his money and you know, maybe even

0:13:07.320 --> 0:13:09.440
<v Speaker 1>say hi to him or whatever. We'll leave him alone.

0:13:09.480 --> 0:13:12.920
<v Speaker 1>We won't include him in our expectations of what it

0:13:12.920 --> 0:13:15.439
<v Speaker 1>means to be a local. Got you, That's what I

0:13:15.520 --> 0:13:19.319
<v Speaker 1>think he was after Clearly I can identify with that. Well,

0:13:19.320 --> 0:13:21.240
<v Speaker 1>that kind of came through in his work too, because

0:13:21.320 --> 0:13:24.960
<v Speaker 1>if you'll notice, even in these um before he started

0:13:24.960 --> 0:13:29.240
<v Speaker 1>doing the like trippy three dimensional hands drawing hands and stuff,

0:13:29.240 --> 0:13:31.719
<v Speaker 1>when he was doing countrysides, he didn't do a lot

0:13:31.720 --> 0:13:34.360
<v Speaker 1>of people, didn't do a lot of faces. People were

0:13:34.480 --> 0:13:37.920
<v Speaker 1>very much in the background and nondescript. But even when

0:13:37.920 --> 0:13:40.320
<v Speaker 1>you look at these, when you say Italian still lives

0:13:40.600 --> 0:13:45.199
<v Speaker 1>of countrysides, what came to mind for me were these beautiful, lush,

0:13:45.280 --> 0:13:50.000
<v Speaker 1>colorful recreations of a countryside. Nope, when you look at these,

0:13:50.000 --> 0:13:52.160
<v Speaker 1>they still look very much like in the m. C. E.

0:13:52.200 --> 0:13:54.800
<v Speaker 1>S Ra style that we all know. Yeah, like very clearly.

0:13:55.000 --> 0:13:57.320
<v Speaker 1>A lot of them too. They're cool. Yeah, they're beautiful.

0:13:57.600 --> 0:14:00.440
<v Speaker 1>They're black and white and then shades of ray, which

0:14:00.480 --> 0:14:03.640
<v Speaker 1>is all just shading, right, Um, But they are beautiful

0:14:03.679 --> 0:14:05.800
<v Speaker 1>in their way and lovely even. I like this stuff

0:14:05.840 --> 0:14:08.559
<v Speaker 1>more than the trippy stuff. Oh yeah, yeah, I mean

0:14:08.559 --> 0:14:10.640
<v Speaker 1>this is something I would put on my wall. You're

0:14:10.679 --> 0:14:13.080
<v Speaker 1>an art snob, You're like, oh, I only like ER's

0:14:13.120 --> 0:14:19.240
<v Speaker 1>early Italian landscapes. Oh man, take that trip stuff for

0:14:19.280 --> 0:14:22.040
<v Speaker 1>Graham Nash. I'm so ashamed. No, I think it's great,

0:14:22.120 --> 0:14:28.960
<v Speaker 1>Chuck you you have, but they are gorgeous. Um. And

0:14:28.960 --> 0:14:33.320
<v Speaker 1>then he met his wife. His name was Jetta. Jetta,

0:14:34.320 --> 0:14:36.960
<v Speaker 1>that's right, very nice, thank you. She was swift, learned

0:14:37.000 --> 0:14:39.680
<v Speaker 1>from the best. They met her in Italy, but she

0:14:39.840 --> 0:14:42.920
<v Speaker 1>was Swiss, and she went home and they sent a

0:14:42.920 --> 0:14:45.200
<v Speaker 1>bunch of love letters. It's a very sweet story. I'm

0:14:45.200 --> 0:14:49.480
<v Speaker 1>sure mccer movie would be pretty cool. Somebody wrote a

0:14:49.520 --> 0:14:53.440
<v Speaker 1>script or they wrote a dissertation about the process of

0:14:53.480 --> 0:14:57.000
<v Speaker 1>writing a script about m c escher. It's from University

0:14:57.000 --> 0:14:59.320
<v Speaker 1>of Texas, I wrote in two thousand and seventeen. I

0:14:59.360 --> 0:15:02.360
<v Speaker 1>can't remember the name of it, but just look up. Oh,

0:15:02.520 --> 0:15:05.200
<v Speaker 1>just some random stuff comes up if you look up

0:15:05.840 --> 0:15:09.800
<v Speaker 1>mosquito bootprint, which will come up later, but if you

0:15:09.840 --> 0:15:12.520
<v Speaker 1>search that on Google, it brings up. Have you ever

0:15:12.560 --> 0:15:14.560
<v Speaker 1>done that? Have you ever been like, I'm bored? I

0:15:14.600 --> 0:15:17.520
<v Speaker 1>want to see what weird stuff I can unlock from Google?

0:15:18.080 --> 0:15:21.120
<v Speaker 1>And it takes a certain amount of skill because Google

0:15:21.160 --> 0:15:23.400
<v Speaker 1>wants to give you exactly what you're looking for. It

0:15:23.440 --> 0:15:26.520
<v Speaker 1>doesn't want to give you just randomness, so you have

0:15:26.600 --> 0:15:29.440
<v Speaker 1>to trick it. So maybe you'll you'll type in a

0:15:29.480 --> 0:15:32.320
<v Speaker 1>weird word or the first three letters of a word

0:15:32.400 --> 0:15:35.080
<v Speaker 1>or something like that, and it's weird stuff will start

0:15:35.120 --> 0:15:38.280
<v Speaker 1>to come. Well, if you type in mosquito bootprint, probably

0:15:38.320 --> 0:15:40.360
<v Speaker 1>only like the first three of them pertain to m

0:15:40.360 --> 0:15:43.080
<v Speaker 1>C s or and the rest are just a random

0:15:43.120 --> 0:15:47.360
<v Speaker 1>assortment of of links. I remember, early in the days

0:15:47.400 --> 0:15:50.520
<v Speaker 1>of Google, Uh, we had a mutual friend who they

0:15:50.560 --> 0:15:53.480
<v Speaker 1>did this what I thought was a very dumb game

0:15:53.960 --> 0:15:56.760
<v Speaker 1>where they would try and find two words together that

0:15:57.400 --> 0:16:00.000
<v Speaker 1>they would try and produce the fewest amount of Google results.

0:16:00.440 --> 0:16:02.640
<v Speaker 1>And whoever could put two words together that found the

0:16:02.640 --> 0:16:05.200
<v Speaker 1>fewest one. Yeah, And I don't know if you remember

0:16:05.240 --> 0:16:07.240
<v Speaker 1>them doing that, but I don't know. I don't remember

0:16:07.240 --> 0:16:08.960
<v Speaker 1>you talking about lots of waste of time. But I

0:16:09.000 --> 0:16:12.800
<v Speaker 1>remember that some guy did, like a Ted talk about that. Really. Yeah,

0:16:12.840 --> 0:16:15.200
<v Speaker 1>well maybe I'm the dummy. No, no, no it was.

0:16:16.200 --> 0:16:18.720
<v Speaker 1>I mean look at me. I like mcsher's early work.

0:16:19.600 --> 0:16:24.840
<v Speaker 1>I think that's awesome. I mean, what taste. So he

0:16:24.880 --> 0:16:28.600
<v Speaker 1>meets and gets married. Uh, she returns to Italy and

0:16:28.720 --> 0:16:33.440
<v Speaker 1>they married. Do you mean Jed That's right. She would

0:16:33.440 --> 0:16:38.280
<v Speaker 1>become Jedda Esher and they had a son named Georgio

0:16:39.120 --> 0:16:43.800
<v Speaker 1>later had sons Arthur and Yan, and Uh, they were

0:16:43.800 --> 0:16:46.080
<v Speaker 1>still just sort of traveling and his dad was even

0:16:46.080 --> 0:16:48.400
<v Speaker 1>though he was married, his dad was still footing the bill.

0:16:49.840 --> 0:16:53.360
<v Speaker 1>Esher's dad mc escher's father. Yeah, yeah, yeah, yeah, which

0:16:53.400 --> 0:16:56.280
<v Speaker 1>I was thinking about it. I was like, gosh, you know,

0:16:56.280 --> 0:16:58.600
<v Speaker 1>not get a benefactor. Wake up every day and look

0:16:58.800 --> 0:17:01.080
<v Speaker 1>at yourself in the mirror. But if you're if youre

0:17:01.120 --> 0:17:04.080
<v Speaker 1>in the mirror sphere, right, how do you and then

0:17:04.080 --> 0:17:08.960
<v Speaker 1>how do you draw it? So amazingly? Um? The father

0:17:09.320 --> 0:17:12.120
<v Speaker 1>Estra's father though, and like, what better way to spend

0:17:12.160 --> 0:17:13.760
<v Speaker 1>your money than to just be like, this is what

0:17:13.800 --> 0:17:15.280
<v Speaker 1>you want to do with your life, son? You want

0:17:15.280 --> 0:17:18.920
<v Speaker 1>to pursue art and live in beautiful Italy than like here,

0:17:19.040 --> 0:17:21.600
<v Speaker 1>this is what I want for you, and that's like

0:17:21.840 --> 0:17:25.480
<v Speaker 1>that's the pinnacle of what a parent can do for

0:17:25.520 --> 0:17:28.240
<v Speaker 1>their child in a lot of ways. No, totally, you know,

0:17:28.280 --> 0:17:30.479
<v Speaker 1>it's not like, hey, why don't you go, you know,

0:17:30.600 --> 0:17:32.760
<v Speaker 1>take up Heroin and here's a bunch of money for

0:17:32.840 --> 0:17:36.080
<v Speaker 1>you to like lay around in a bitha. True I

0:17:36.119 --> 0:17:37.919
<v Speaker 1>want to know more. I'm not I hope I'm not

0:17:37.960 --> 0:17:40.040
<v Speaker 1>coming across the cynical, but I wonder if some of

0:17:40.080 --> 0:17:44.040
<v Speaker 1>this was like he'll come around if I you know,

0:17:44.119 --> 0:17:46.600
<v Speaker 1>to architecture or whatever. You kept waiting for the part

0:17:46.640 --> 0:17:49.880
<v Speaker 1>where his father cuts him off. I was his father

0:17:49.920 --> 0:17:53.320
<v Speaker 1>apparently wouldn't like that. All right. I know, I'm not

0:17:53.320 --> 0:17:55.200
<v Speaker 1>trying to talk you into my way of thinking. I'm

0:17:55.240 --> 0:17:57.760
<v Speaker 1>not saying like I had. I started out thinking the

0:17:57.800 --> 0:17:59.840
<v Speaker 1>same way you did. And then something happened. I was like,

0:18:00.000 --> 0:18:01.840
<v Speaker 1>it was actually really neat of his day. It was

0:18:02.280 --> 0:18:05.640
<v Speaker 1>it all seems above board. Yeah. So World War Two

0:18:05.680 --> 0:18:10.600
<v Speaker 1>has a profound effect on Esher and his work. He

0:18:10.760 --> 0:18:14.760
<v Speaker 1>learned that they were making his nine year old son, Georgio,

0:18:15.359 --> 0:18:19.359
<v Speaker 1>marching fascist youth parades, and he said, pack your bags,

0:18:19.359 --> 0:18:22.040
<v Speaker 1>were going to Switzerland. That is the appropriate response to

0:18:22.080 --> 0:18:25.920
<v Speaker 1>that news. Yeah, we're getting out of here, marching for

0:18:26.080 --> 0:18:30.199
<v Speaker 1>moose Lein. Have you seen Jojo Rabbit yet? No? Is

0:18:30.200 --> 0:18:32.440
<v Speaker 1>it good? Is it as good as it looks? It's great.

0:18:32.720 --> 0:18:36.360
<v Speaker 1>I can't everything about it. Do I need to see

0:18:36.400 --> 0:18:38.040
<v Speaker 1>in theater. It doesn't seem like one I have to

0:18:38.040 --> 0:18:40.159
<v Speaker 1>see any I mean, you know, it's always fun to

0:18:40.240 --> 0:18:42.120
<v Speaker 1>laugh with a big group of people, although by now

0:18:42.160 --> 0:18:45.359
<v Speaker 1>it's probably thinned out. Uh. And I was laughing a

0:18:45.359 --> 0:18:47.960
<v Speaker 1>lot and people weren't laughing. I like that kind of

0:18:47.960 --> 0:18:50.399
<v Speaker 1>one of those deals. I mean, it's a movie about

0:18:50.400 --> 0:18:53.639
<v Speaker 1>a kid having Hitler as an imaginary friend. So don't

0:18:53.680 --> 0:18:56.080
<v Speaker 1>tell me that I didn't know. I know, I had

0:18:56.119 --> 0:18:58.600
<v Speaker 1>no idea that was on the poster. I know, but

0:18:58.640 --> 0:19:01.639
<v Speaker 1>I didn't know he was an imaginary friend. Oh, get

0:19:01.680 --> 0:19:05.080
<v Speaker 1>out of my brain. Sorry, that really doesn't spoil anything. Okay,

0:19:05.520 --> 0:19:09.000
<v Speaker 1>don't tell me anything some big reveal. Um. So they

0:19:09.000 --> 0:19:13.879
<v Speaker 1>go to Switzerland. All apologies as long as it's not

0:19:13.920 --> 0:19:16.560
<v Speaker 1>a big spoiler. No, no, no no, no, of course not. Um.

0:19:16.600 --> 0:19:19.640
<v Speaker 1>They go to Switzerland and he even though he did

0:19:19.680 --> 0:19:22.840
<v Speaker 1>not like the mountains, he didn't like the snow, did

0:19:22.840 --> 0:19:26.800
<v Speaker 1>not like cold, weather. So they moved to Belgium after

0:19:26.880 --> 0:19:30.720
<v Speaker 1>a couple of years, which is just beautiful compared to Switzerland.

0:19:31.119 --> 0:19:34.320
<v Speaker 1>Belgium is nice. Uh. In the nineteen in May of

0:19:34.400 --> 0:19:38.520
<v Speaker 1>nineteen forty though, the Nazis invaded Belgium, and so they

0:19:38.600 --> 0:19:41.920
<v Speaker 1>moved to the Netherlands in ninety one, where the Nazis

0:19:41.920 --> 0:19:46.080
<v Speaker 1>already were. Yeah, I guess they can't occupy it again.

0:19:46.440 --> 0:19:50.000
<v Speaker 1>Well in its home. Uh, And they've settled in Barn,

0:19:51.040 --> 0:19:54.040
<v Speaker 1>which is about twenty three miles southeast of Amsterdam. I

0:19:54.080 --> 0:19:56.119
<v Speaker 1>don't know if that's how you're supposed to say it

0:19:56.200 --> 0:20:03.440
<v Speaker 1>be a A A R. I like it's probably Barren. Oh, yeah,

0:20:03.440 --> 0:20:05.359
<v Speaker 1>I'll bet you just nailed it. I think so. But

0:20:05.480 --> 0:20:09.840
<v Speaker 1>duchess very strange. But it's not strange, but just for

0:20:09.920 --> 0:20:13.200
<v Speaker 1>my English, dumb English years, supposedly English is the strangest

0:20:13.240 --> 0:20:16.520
<v Speaker 1>of all. Yeah, I'm sure it's just a hybrid mongrel

0:20:16.800 --> 0:20:19.840
<v Speaker 1>language that doesn't make any sense to anyone who's not

0:20:19.880 --> 0:20:21.920
<v Speaker 1>a native speaker of it. You know, what is an

0:20:21.920 --> 0:20:26.360
<v Speaker 1>interesting language is Welsh. Because I'm watching the Crown and uh,

0:20:26.400 --> 0:20:30.120
<v Speaker 1>when Prince Charles starts coming around Prince of Wales, there's

0:20:30.119 --> 0:20:33.240
<v Speaker 1>people speaking Welsh and I was very ignorant about even

0:20:33.280 --> 0:20:35.840
<v Speaker 1>knowing that what it sounds like, what it sounds like,

0:20:35.920 --> 0:20:38.920
<v Speaker 1>and that it was still spoken, and uh, it was

0:20:38.960 --> 0:20:42.000
<v Speaker 1>a very odd hybrid. It sounded like several different things.

0:20:42.359 --> 0:20:47.520
<v Speaker 1>It's all old Celtic stuff. Yeah, very unusual gallic Gallic, Yeah,

0:20:47.600 --> 0:20:50.000
<v Speaker 1>I think it's Gallic. That's Galic language group, one of

0:20:50.040 --> 0:20:52.960
<v Speaker 1>the two. Yeah. Everything I know about Welsh I learned

0:20:52.960 --> 0:20:56.880
<v Speaker 1>from super furry animals. Oh yeah, because that guy's Welsh Man.

0:20:57.040 --> 0:20:59.640
<v Speaker 1>I saw them blood Granddaddy off the stage one time.

0:21:00.160 --> 0:21:02.520
<v Speaker 1>Oh you saw him live? Oh I think he told me.

0:21:02.560 --> 0:21:08.080
<v Speaker 1>That melted my brain. So they're traveling around still, even

0:21:08.080 --> 0:21:11.520
<v Speaker 1>though they're settled in Barn, and they go back to

0:21:11.640 --> 0:21:14.680
<v Speaker 1>al Hambra in Spain, which I don't think we said

0:21:14.680 --> 0:21:17.600
<v Speaker 1>what that is. No, it's a it's a thirteenth century

0:21:17.680 --> 0:21:21.240
<v Speaker 1>Moorish castle from when the Moors conquered Spain's beautiful. It

0:21:21.359 --> 0:21:23.280
<v Speaker 1>is very beautiful, and they built it in the Moorish

0:21:23.320 --> 0:21:25.800
<v Speaker 1>style and then it was eventually like taken over by

0:21:25.880 --> 0:21:30.439
<v Speaker 1>the Christian like royalty that that explored the New World

0:21:30.440 --> 0:21:34.240
<v Speaker 1>and all that stuff. But this castle was done in

0:21:34.280 --> 0:21:39.240
<v Speaker 1>these tiles that are renowned for being some of the

0:21:39.320 --> 0:21:44.320
<v Speaker 1>most beautiful geometric like Islamic patterns you've ever seen in

0:21:44.359 --> 0:21:47.840
<v Speaker 1>your life. And they got to Escher. He'd seen him before,

0:21:47.880 --> 0:21:50.000
<v Speaker 1>but it was I guess he was like, oh, that's

0:21:50.080 --> 0:21:52.440
<v Speaker 1>kind of cool. But the second trip that he went

0:21:52.520 --> 0:21:55.639
<v Speaker 1>back with after they moved to from Switzerland, I think

0:21:55.680 --> 0:21:59.320
<v Speaker 1>to Belgium or maybe to Switzerland. UM, that's when he

0:21:59.400 --> 0:22:02.840
<v Speaker 1>was like, I am obsessed with these now, please tessellations

0:22:03.160 --> 0:22:07.240
<v Speaker 1>started drawing him. Jetted it too, says that they worked together,

0:22:07.760 --> 0:22:09.560
<v Speaker 1>so I'm not I didn't know that she was an artist.

0:22:10.359 --> 0:22:15.560
<v Speaker 1>I didn't either, but they World War two comes back around?

0:22:15.600 --> 0:22:18.159
<v Speaker 1>Will that comes back around? And never left, let's be honest.

0:22:18.760 --> 0:22:23.040
<v Speaker 1>But UH Spain would devolve into civil war, and so

0:22:23.160 --> 0:22:26.640
<v Speaker 1>this meant that he was kind of stuck in uh

0:22:27.400 --> 0:22:29.920
<v Speaker 1>outside of Amsterdam for a little while. Longer, he wasn't

0:22:29.920 --> 0:22:32.600
<v Speaker 1>doing as much traveling. No, he was in the Netherlands

0:22:32.600 --> 0:22:39.560
<v Speaker 1>and um he rekindled his friendship with Mosquito, his old

0:22:39.800 --> 0:22:43.600
<v Speaker 1>mentor who had stayed in Netherlands this whole time, and

0:22:43.720 --> 0:22:49.160
<v Speaker 1>Mosquito was Jewish and he was taken away by the Nazis.

0:22:49.200 --> 0:22:54.679
<v Speaker 1>Eventually he was killed at um Auschwitz. I believe with

0:22:54.800 --> 0:22:57.600
<v Speaker 1>his wife and their son was also killed in another

0:22:57.680 --> 0:23:02.959
<v Speaker 1>concentration camp by the Nazis. And this really got to Escher, like,

0:23:03.040 --> 0:23:05.120
<v Speaker 1>this is one of his dear friends, and he had

0:23:05.359 --> 0:23:09.360
<v Speaker 1>um a work, a sketch of mosquitoes. When he went

0:23:09.359 --> 0:23:11.280
<v Speaker 1>to his house to visit Mosquito, he found the door

0:23:11.359 --> 0:23:13.320
<v Speaker 1>was opened and they weren't there, and they'd clearly been

0:23:13.320 --> 0:23:16.359
<v Speaker 1>taken by the Nazis. And one of the pieces of

0:23:16.440 --> 0:23:19.320
<v Speaker 1>artwork that he gathered together to preserve was a sketch

0:23:19.320 --> 0:23:21.960
<v Speaker 1>of mosquitoes that had a Nazi bootprint on it. And

0:23:22.000 --> 0:23:24.639
<v Speaker 1>that's what you were referenced earlier with your Google search

0:23:24.760 --> 0:23:27.320
<v Speaker 1>Mosquito bootprint. Was there a picture of it? No, I

0:23:27.320 --> 0:23:29.440
<v Speaker 1>couldn't find anything aside from the fact that it was

0:23:29.440 --> 0:23:31.400
<v Speaker 1>a sketch, not that it was a sketch of what

0:23:31.720 --> 0:23:33.919
<v Speaker 1>or anything like that, just that there was a sketch

0:23:34.040 --> 0:23:37.040
<v Speaker 1>of mosquitoes that was that had a boot a bore bootprint,

0:23:37.359 --> 0:23:40.200
<v Speaker 1>and that Escher hung onto This is his entire life.

0:23:40.560 --> 0:23:44.120
<v Speaker 1>It was very important to him, and he was not

0:23:44.640 --> 0:23:52.760
<v Speaker 1>um uh a very flowery like um like passionate man

0:23:52.880 --> 0:23:55.720
<v Speaker 1>or anything like that. I get the impression that he

0:23:56.200 --> 0:23:58.640
<v Speaker 1>and this is sure, I'm talking about that. He internalized

0:23:58.640 --> 0:24:01.760
<v Speaker 1>a lot of stuff. Uh, and I think that him

0:24:01.840 --> 0:24:05.840
<v Speaker 1>holding onto that piece of art was probably a more

0:24:05.880 --> 0:24:09.600
<v Speaker 1>significant than even it appears on the outside. Yeah. And

0:24:09.840 --> 0:24:14.040
<v Speaker 1>uh supposedly Um hid some people from a Jewish family

0:24:14.600 --> 0:24:18.080
<v Speaker 1>during the Nazi occupation years, and also during those same

0:24:18.160 --> 0:24:21.200
<v Speaker 1>years did not exhibit or release any prints. Wait a minute,

0:24:21.240 --> 0:24:23.000
<v Speaker 1>I think you just said hid some people from a

0:24:23.080 --> 0:24:26.240
<v Speaker 1>Jewish family or did you say hid some members of

0:24:26.240 --> 0:24:29.680
<v Speaker 1>a Jewish family. Well, people members of a Jewish family,

0:24:29.680 --> 0:24:32.679
<v Speaker 1>but you said from I think yeah, I mean like

0:24:32.800 --> 0:24:35.800
<v Speaker 1>they were from a Jewish family and got you. He

0:24:35.840 --> 0:24:39.119
<v Speaker 1>didn't hide them from right, right, don't tell the Jewish

0:24:39.119 --> 0:24:41.439
<v Speaker 1>family that you're hiding over here. No, that would have

0:24:41.440 --> 0:24:46.040
<v Speaker 1>been weird. Uh. So maybe we should take a break now. Oh,

0:24:46.119 --> 0:25:12.280
<v Speaker 1>I think it's unraveled at the point the guys are right. Yeah, okay, Chuck.

0:25:12.400 --> 0:25:14.760
<v Speaker 1>So World War Two kind of comes and goes around

0:25:14.920 --> 0:25:18.639
<v Speaker 1>Escher despite his best efforts to escape it. Um And

0:25:19.400 --> 0:25:21.760
<v Speaker 1>it definitely had a mark on him. But one of

0:25:21.760 --> 0:25:24.320
<v Speaker 1>the other things that that had a really big mark

0:25:24.400 --> 0:25:27.399
<v Speaker 1>on him was having to move from Italy. It was

0:25:27.440 --> 0:25:29.800
<v Speaker 1>like you said, like he was married, had a family,

0:25:30.160 --> 0:25:32.760
<v Speaker 1>his father was still supporting him, and every spring and

0:25:32.800 --> 0:25:35.560
<v Speaker 1>summer he would just tour the Italian countryside and visit

0:25:35.640 --> 0:25:38.920
<v Speaker 1>small quaint towns and just be inspired to keep making

0:25:38.960 --> 0:25:42.119
<v Speaker 1>these Italian landscapes. But it makes a really great point

0:25:42.119 --> 0:25:45.479
<v Speaker 1>here that his Italian landscapes are very handsome works of art,

0:25:45.760 --> 0:25:49.760
<v Speaker 1>very beautiful, favorite, technically proficient. There Chuck's favorite. But you

0:25:49.840 --> 0:25:52.920
<v Speaker 1>would almost certainly have never seen them in your entire

0:25:53.040 --> 0:25:57.600
<v Speaker 1>life were it not for him moving from Italy, because

0:25:57.600 --> 0:26:00.320
<v Speaker 1>in doing so, he lost his source of inspiration ration

0:26:00.560 --> 0:26:02.760
<v Speaker 1>and it was forced to kind of turn inward because

0:26:02.760 --> 0:26:06.120
<v Speaker 1>he hated what Switzerland looked like. He wasn't apparently very

0:26:06.119 --> 0:26:09.959
<v Speaker 1>inspired by his home country of the Netherlands. Um so

0:26:10.000 --> 0:26:11.840
<v Speaker 1>he had to kind of turn inward into his own

0:26:11.880 --> 0:26:15.800
<v Speaker 1>imagination and start coming up with new subjects, and in

0:26:16.040 --> 0:26:20.800
<v Speaker 1>doing that, the true essuer was was unlocked. Yeah, because

0:26:20.840 --> 0:26:23.600
<v Speaker 1>early in like a lot of artists early in their career,

0:26:23.680 --> 0:26:27.760
<v Speaker 1>they they kind of free ranged through different styles, trying

0:26:27.800 --> 0:26:30.160
<v Speaker 1>to find their own personal thing. He had a very

0:26:30.440 --> 0:26:34.280
<v Speaker 1>very colorful clown period. It's very bizarre, doesn't fit with

0:26:34.320 --> 0:26:38.160
<v Speaker 1>the rest of it, very John Wayne Gacy, right, but

0:26:38.760 --> 0:26:42.120
<v Speaker 1>you can very clearly see if you look at Mosquito's work,

0:26:42.240 --> 0:26:46.360
<v Speaker 1>that connection and the influence from him. Um, although Mosquito

0:26:46.400 --> 0:26:49.840
<v Speaker 1>did a lot of sort of graphic portraits and things

0:26:49.840 --> 0:26:52.520
<v Speaker 1>like that, whereas Escher didn't really worry too much about

0:26:52.600 --> 0:26:55.560
<v Speaker 1>humans and faces. Yeah yeah, um they were they were

0:26:55.600 --> 0:26:58.760
<v Speaker 1>just kind of like almost afterthoughts. But early on he

0:26:58.800 --> 0:27:01.520
<v Speaker 1>did start experimenting stuff that would later become sort of

0:27:01.520 --> 0:27:07.159
<v Speaker 1>his hallmark. When he did do like a uh sketch

0:27:07.160 --> 0:27:09.280
<v Speaker 1>of a building, let's say, it would be from this

0:27:09.440 --> 0:27:13.800
<v Speaker 1>really like tall odd angle looking down on it, very

0:27:13.840 --> 0:27:19.480
<v Speaker 1>severe angles and like a horizon, or trees that sort

0:27:19.520 --> 0:27:21.840
<v Speaker 1>of go on into infinity. Stuff like that that would

0:27:21.880 --> 0:27:25.479
<v Speaker 1>become very much his style later on. And Ed very

0:27:25.520 --> 0:27:30.400
<v Speaker 1>astutely points out that there's something about his style that, um,

0:27:30.440 --> 0:27:33.280
<v Speaker 1>I don't know how dark of a person he was emotionally,

0:27:33.359 --> 0:27:36.840
<v Speaker 1>but there is something about the severity of these angles

0:27:37.280 --> 0:27:39.240
<v Speaker 1>and a lot of his work that was just sort

0:27:39.280 --> 0:27:45.720
<v Speaker 1>of um uneasy feeling. It didn't look like just some beautiful,

0:27:46.359 --> 0:27:50.159
<v Speaker 1>colorful Italian countryside. There was something kind of strange and

0:27:50.720 --> 0:27:54.720
<v Speaker 1>unusual about it. Something about the contrast of black and

0:27:54.760 --> 0:27:57.359
<v Speaker 1>white definitely does it too. And he was such a

0:27:57.400 --> 0:28:00.879
<v Speaker 1>master of shading that if something was stark and black

0:28:00.880 --> 0:28:03.360
<v Speaker 1>and white, I mean, unless it was his earliest work

0:28:03.600 --> 0:28:06.000
<v Speaker 1>was because he wanted it to look that way and

0:28:06.040 --> 0:28:08.440
<v Speaker 1>to make it stark and kind of un settling like that.

0:28:08.600 --> 0:28:11.320
<v Speaker 1>But yeah, there's like a certain amount of dread in

0:28:11.359 --> 0:28:14.400
<v Speaker 1>a lot of his stuff. Yeah, and it's not something

0:28:14.480 --> 0:28:17.520
<v Speaker 1>you can easily put your finger on, but it's definitely there. Yeah,

0:28:17.560 --> 0:28:22.480
<v Speaker 1>Like did you see uh the mummified priests. Yeah, that

0:28:22.600 --> 0:28:24.919
<v Speaker 1>was creepy and then one of the isn't it more

0:28:24.960 --> 0:28:29.239
<v Speaker 1>creepy to actually do that in real life? Stand them

0:28:29.280 --> 0:28:32.560
<v Speaker 1>up like that in these little alcoves? Oh yeah, absolutely,

0:28:33.480 --> 0:28:37.240
<v Speaker 1>just don't kill the messenger. And he would have sometimes

0:28:37.240 --> 0:28:40.960
<v Speaker 1>skulls um featured in some of his work and stuff

0:28:41.000 --> 0:28:43.560
<v Speaker 1>like that, like the one of the Eye believe called

0:28:43.600 --> 0:28:45.840
<v Speaker 1>I right in the middle of the people as a

0:28:45.880 --> 0:28:48.640
<v Speaker 1>skull staring back. So he had little touches like that

0:28:49.160 --> 0:28:53.360
<v Speaker 1>without going full like uh, you know, love craft Ian

0:28:53.760 --> 0:28:57.200
<v Speaker 1>right or Goya or something like that. I don't even bosh,

0:28:57.360 --> 0:28:59.040
<v Speaker 1>I don't know who that is, Sure you do, I'm

0:28:59.080 --> 0:29:04.440
<v Speaker 1>just kidding, Okay, I know those people, so uh, his

0:29:04.840 --> 0:29:06.480
<v Speaker 1>I guess this is where we get to the fact

0:29:06.480 --> 0:29:10.600
<v Speaker 1>of the show for me, take it away, Chuck, because folks,

0:29:10.640 --> 0:29:13.240
<v Speaker 1>if you've ever seen an M. C. Ser print and

0:29:13.280 --> 0:29:16.080
<v Speaker 1>he thought, man, that guy could sure draw a print,

0:29:16.760 --> 0:29:21.320
<v Speaker 1>imagine cutting that out of wood in reverse, in reverse,

0:29:21.720 --> 0:29:23.720
<v Speaker 1>because that's what he did. A lot of his stuff

0:29:23.760 --> 0:29:29.320
<v Speaker 1>were wood cuts. Even harder than that, Chuck, is the lithograph. Yeah,

0:29:29.360 --> 0:29:32.800
<v Speaker 1>so a wood cut. If you've ever made used a stamp,

0:29:33.000 --> 0:29:38.719
<v Speaker 1>or made a potato stamp, basically, well, that's what it is.

0:29:38.760 --> 0:29:41.560
<v Speaker 1>He's actually carving the stuff into wood as a negative

0:29:41.600 --> 0:29:43.960
<v Speaker 1>image because then when you run ink over it and

0:29:44.000 --> 0:29:48.360
<v Speaker 1>stamp it, you get the positive image. And it's just incredible.

0:29:48.360 --> 0:29:50.360
<v Speaker 1>I mean, it's hard enough to draw and sketch this stuff,

0:29:50.880 --> 0:29:53.760
<v Speaker 1>much less cut it out of wood. Right, So so

0:29:53.960 --> 0:29:55.680
<v Speaker 1>just take a step back and think about the ashers

0:29:55.720 --> 0:29:58.760
<v Speaker 1>that you've seen before. Imagine that they were they were

0:29:58.760 --> 0:30:02.400
<v Speaker 1>originally carved out of would and now imagine that to

0:30:02.560 --> 0:30:06.120
<v Speaker 1>get even more detailing, because you can't adjust how much

0:30:06.200 --> 0:30:08.960
<v Speaker 1>ink is certain part of the wood block gets. It's

0:30:08.960 --> 0:30:11.239
<v Speaker 1>all going to get an even layer of ink. So

0:30:11.320 --> 0:30:14.160
<v Speaker 1>to shade something you have to do cross hatching lines,

0:30:14.400 --> 0:30:18.440
<v Speaker 1>stipling something like that. But to get really detailed with shading.

0:30:18.720 --> 0:30:22.600
<v Speaker 1>You need multiple blocks of the same image in the

0:30:22.640 --> 0:30:27.280
<v Speaker 1>exact same size, with different parts accentuated, so that you

0:30:27.320 --> 0:30:30.160
<v Speaker 1>can layer over. You can take the same paper and

0:30:30.240 --> 0:30:33.880
<v Speaker 1>layer them on different blocks and line them up so

0:30:33.920 --> 0:30:37.840
<v Speaker 1>that you have layers to this image. That was the

0:30:37.920 --> 0:30:40.880
<v Speaker 1>level of the wood cuts this guy was doing. Yeah, Like,

0:30:41.000 --> 0:30:45.040
<v Speaker 1>that's sort of like a T shirt screen printing, like

0:30:45.040 --> 0:30:48.320
<v Speaker 1>a four color shirt. You gotta layer, you gotta put

0:30:48.320 --> 0:30:50.320
<v Speaker 1>it on exactly in the in the spot that it

0:30:50.320 --> 0:30:53.800
<v Speaker 1>needs to go each time, drag that ink across, so

0:30:53.920 --> 0:30:57.160
<v Speaker 1>it's not you know, off by a centimeter because it

0:30:57.200 --> 0:31:00.680
<v Speaker 1>would look bad. So the wood cuts, um, especially as

0:31:00.720 --> 0:31:03.640
<v Speaker 1>earlier woodcuts. You can tell their wood cuts they look

0:31:03.680 --> 0:31:06.680
<v Speaker 1>like wood cuts. Some of them do not. There's some

0:31:06.760 --> 0:31:11.440
<v Speaker 1>of the Italian countryside. Um that's just are just yeah,

0:31:11.760 --> 0:31:14.880
<v Speaker 1>are just astounding. And when you stop and think about

0:31:14.920 --> 0:31:17.880
<v Speaker 1>the idea that they it's not a drawing, that their

0:31:17.920 --> 0:31:22.080
<v Speaker 1>wood cuts, multiple blocked wood cuts, is pretty astounding. But

0:31:22.160 --> 0:31:25.720
<v Speaker 1>like I was saying to me, even even more difficult

0:31:25.920 --> 0:31:29.560
<v Speaker 1>is making the lithograph. Yeah. I think I talked about

0:31:29.560 --> 0:31:32.840
<v Speaker 1>this on some other episode. Um, I know it talked

0:31:32.840 --> 0:31:36.240
<v Speaker 1>about batiguing, but I also talked to in industrial arts.

0:31:36.280 --> 0:31:41.760
<v Speaker 1>We did offset lithography in that social experiment high school exactly.

0:31:42.440 --> 0:31:46.520
<v Speaker 1>We did offset lithography, which um basically I mean that's

0:31:46.520 --> 0:31:49.920
<v Speaker 1>the process today. I mean that's how they make newspapers, posters, books, maps,

0:31:50.320 --> 0:31:53.640
<v Speaker 1>kind of everything. This is with offset lithography. It was

0:31:53.800 --> 0:31:58.000
<v Speaker 1>in do you remember it was in the um Et

0:31:58.200 --> 0:32:02.440
<v Speaker 1>Sketch episode. That's what I art originally did, was lithography. Okay,

0:32:02.600 --> 0:32:06.200
<v Speaker 1>well this is this is pre like today, you use

0:32:06.320 --> 0:32:09.160
<v Speaker 1>like aluminum or some other kind of metal sheet and

0:32:09.520 --> 0:32:16.040
<v Speaker 1>these emulsions and chemicals. Back then it was drawn into limestone,

0:32:17.000 --> 0:32:19.720
<v Speaker 1>a flat slab of limestone with a grease pencil, and

0:32:19.760 --> 0:32:23.520
<v Speaker 1>then use a chemical treatment uh to uh on the

0:32:23.560 --> 0:32:26.320
<v Speaker 1>areas that basically water and inc don't mix. It's sort

0:32:26.320 --> 0:32:29.680
<v Speaker 1>of all built on that principle. So the areas where

0:32:29.720 --> 0:32:33.080
<v Speaker 1>you have written in Greece do not hold that inc

0:32:33.920 --> 0:32:35.400
<v Speaker 1>or is it the other way around? No, I think

0:32:35.400 --> 0:32:37.880
<v Speaker 1>they don't hold the Yeah. Again, what you're doing is

0:32:37.880 --> 0:32:40.320
<v Speaker 1>creating a negative image, just like the wood cut essentially,

0:32:41.480 --> 0:32:47.480
<v Speaker 1>so you've got this um attraction and repulsion interplay between ink,

0:32:47.600 --> 0:32:52.120
<v Speaker 1>water and grease, and when you put it all together

0:32:52.360 --> 0:32:59.120
<v Speaker 1>on limestone, it makes these extremely subtle gradients of shading

0:33:00.360 --> 0:33:02.720
<v Speaker 1>that are kind of like a hallmark of some of

0:33:03.240 --> 0:33:11.160
<v Speaker 1>Escher's more um well known works. Yeah, the hands drawing hands, right, Yeah,

0:33:11.360 --> 0:33:14.280
<v Speaker 1>that was a lithograph. He made that with limestone and grease,

0:33:14.360 --> 0:33:17.600
<v Speaker 1>pen and ink, and um did it in reverse too,

0:33:17.640 --> 0:33:20.040
<v Speaker 1>because just like with the woodblock, you have to create

0:33:20.040 --> 0:33:24.120
<v Speaker 1>the negative of it because you want the positive image

0:33:24.120 --> 0:33:26.320
<v Speaker 1>on the paper. You have a very special brain if

0:33:26.360 --> 0:33:28.040
<v Speaker 1>this is if you can work this stuff out as

0:33:28.080 --> 0:33:32.560
<v Speaker 1>an artist. You know, it's uh, not saying that any

0:33:32.640 --> 0:33:35.200
<v Speaker 1>kind of artist is any better or worse or smarter

0:33:35.760 --> 0:33:38.760
<v Speaker 1>than the next, but your brain just has to be

0:33:38.800 --> 0:33:41.600
<v Speaker 1>wired a little bit differently to thinking negatives like that,

0:33:41.680 --> 0:33:44.400
<v Speaker 1>like a mathematician. Basically, yeah, your brain has to be

0:33:44.440 --> 0:33:49.200
<v Speaker 1>set up that way. Yeah, absolutely, But lithography is difficult,

0:33:49.440 --> 0:33:52.680
<v Speaker 1>very labor intensive. So later on he would hire a

0:33:52.800 --> 0:33:56.920
<v Speaker 1>lithographer to actually create his prints after he's sketched and

0:33:57.000 --> 0:34:01.000
<v Speaker 1>drawn the stuff out smart and he would destroy the limestone. Well,

0:34:01.000 --> 0:34:02.560
<v Speaker 1>he wouldn't destroy it, he would scrape it clean so

0:34:02.560 --> 0:34:05.440
<v Speaker 1>we could reuse it. So that's the reason. Like if

0:34:05.480 --> 0:34:09.520
<v Speaker 1>you want to buy an original mc Escher, good luck. Well,

0:34:09.560 --> 0:34:11.920
<v Speaker 1>there's there's no such thing. There's original prints that he

0:34:12.040 --> 0:34:15.120
<v Speaker 1>made and apparently you're not gonna get your hands one

0:34:15.160 --> 0:34:17.640
<v Speaker 1>of those limestones. No, but there are a couple of

0:34:17.680 --> 0:34:20.160
<v Speaker 1>those left over. But he said that he wanted him.

0:34:20.160 --> 0:34:22.759
<v Speaker 1>I think canceled is what they call it in his will,

0:34:23.520 --> 0:34:26.920
<v Speaker 1>where they intentionally damage it. So that even if you

0:34:27.000 --> 0:34:29.000
<v Speaker 1>got ahold of one of these things and you were like,

0:34:29.040 --> 0:34:32.080
<v Speaker 1>I'm gonna print me a brand new esure Um, there'd

0:34:32.120 --> 0:34:35.680
<v Speaker 1>be like the like the the negative image of sniggle

0:34:35.760 --> 0:34:39.080
<v Speaker 1>Puss like comes through and like the hand drawing hands

0:34:39.480 --> 0:34:43.360
<v Speaker 1>picture h And he did not do many original prints

0:34:43.440 --> 0:34:46.480
<v Speaker 1>from those original woodcuts and lithographs either. I think he

0:34:46.520 --> 0:34:50.960
<v Speaker 1>only did ten of still life with spherical mirror. And

0:34:51.000 --> 0:34:54.680
<v Speaker 1>so anything obviously, anything you'd buy in a Spencer Gifts,

0:34:55.239 --> 0:34:59.000
<v Speaker 1>it's going to be a print anyway. What they told

0:34:59.040 --> 0:35:03.640
<v Speaker 1>me it was, you mean bikini Lady on corvette. You

0:35:03.680 --> 0:35:06.120
<v Speaker 1>can probably get the original of that. It Spencer probably

0:35:06.160 --> 0:35:11.720
<v Speaker 1>cut the original negative um Bikini Lady Corvette man, remember

0:35:11.760 --> 0:35:16.680
<v Speaker 1>that filled with Lamborghini. The these lithographs, he would also

0:35:16.760 --> 0:35:19.600
<v Speaker 1>layer those just like you did with the woodcuts, creating

0:35:19.840 --> 0:35:22.480
<v Speaker 1>multiple plates to layer on top of one another for

0:35:22.600 --> 0:35:25.200
<v Speaker 1>shading and toning and stuff like that. It's just amazing.

0:35:26.040 --> 0:35:27.880
<v Speaker 1>I mean I did it to make a monkey's T shirt.

0:35:28.920 --> 0:35:32.399
<v Speaker 1>I forgot. You used to screen print too, so did I? Yeah? Well,

0:35:32.440 --> 0:35:35.600
<v Speaker 1>actually the monkeys T shirt was screen printing. I think

0:35:36.040 --> 0:35:38.000
<v Speaker 1>I can't remember what what I did for a lithograph.

0:35:38.080 --> 0:35:40.440
<v Speaker 1>I think something to make a notepad that said like

0:35:40.800 --> 0:35:43.560
<v Speaker 1>my name and something else. Oh that's right. So you

0:35:43.560 --> 0:35:47.600
<v Speaker 1>you screen printed in industrial arts? Yes? Okay, like you

0:35:47.680 --> 0:35:51.440
<v Speaker 1>were you ever employed gainfully as a screen No? Oh

0:35:51.880 --> 0:35:53.759
<v Speaker 1>did you do that? Yeah? No? I mean I would

0:35:53.760 --> 0:35:56.000
<v Speaker 1>have loved to it. I wasn't good enough. It's always

0:35:56.000 --> 0:35:58.320
<v Speaker 1>not hard. Yeah, but I mean you would draw the

0:35:58.360 --> 0:36:01.879
<v Speaker 1>stuff for you? No? No, no, no, would like burn

0:36:01.960 --> 0:36:04.600
<v Speaker 1>the screens and everything and drag the ink through. And

0:36:04.680 --> 0:36:08.080
<v Speaker 1>he did for for a job, well like high school? No,

0:36:08.200 --> 0:36:10.400
<v Speaker 1>this is it college? What kind of dough do you

0:36:10.440 --> 0:36:14.120
<v Speaker 1>make doing that? Jack? Yeah? But it's fun. It's cool work.

0:36:14.200 --> 0:36:16.239
<v Speaker 1>You know, you just listen to beer and a few

0:36:16.239 --> 0:36:20.000
<v Speaker 1>bucks pretty much hang out with some cool dudes and

0:36:20.120 --> 0:36:23.160
<v Speaker 1>you know that's yeah. Yeah, I got you good early

0:36:23.239 --> 0:36:25.560
<v Speaker 1>college job, you know what I mean? I think it'd

0:36:25.600 --> 0:36:27.920
<v Speaker 1>be cool. And I mean there's a very cool T

0:36:28.000 --> 0:36:30.000
<v Speaker 1>shirt local T shirt shop here that every time I

0:36:30.000 --> 0:36:33.640
<v Speaker 1>go over there, because that's where our friend, uh, the patchmaker,

0:36:34.560 --> 0:36:37.080
<v Speaker 1>uh Katie Culp works, or at least she used to.

0:36:37.080 --> 0:36:39.120
<v Speaker 1>I think she's got her own space now, but she

0:36:39.160 --> 0:36:42.839
<v Speaker 1>shared a space with T shirt dudes, and anytime I'm

0:36:42.840 --> 0:36:44.160
<v Speaker 1>in there, it's just a good vibe, you know what

0:36:44.200 --> 0:36:47.279
<v Speaker 1>I mean. There are a lot worse places to spend

0:36:47.280 --> 0:36:51.160
<v Speaker 1>your time than a T shirt shop, So uh oh.

0:36:51.239 --> 0:36:53.359
<v Speaker 1>Another thing we should point out is that he did

0:36:53.400 --> 0:36:57.040
<v Speaker 1>do color occasionally, but color was a whole different You

0:36:57.040 --> 0:36:59.920
<v Speaker 1>had to do a separate stone for each color. So

0:37:00.040 --> 0:37:01.400
<v Speaker 1>that's why a lot of his stuff ended up in

0:37:01.440 --> 0:37:03.719
<v Speaker 1>black and white, aside from the fact that he liked

0:37:03.760 --> 0:37:05.520
<v Speaker 1>it as well. Yeah, he seemed to be very pleased

0:37:05.520 --> 0:37:07.879
<v Speaker 1>with black and white in general. Yeah, I'm not saying

0:37:07.880 --> 0:37:10.680
<v Speaker 1>he was lazy. No, but let's take a step back

0:37:10.680 --> 0:37:13.719
<v Speaker 1>here for a second and examine the idea that you

0:37:13.840 --> 0:37:16.480
<v Speaker 1>thought M. C. Escher was a pretty amazing artist when

0:37:16.520 --> 0:37:19.200
<v Speaker 1>you just imagined that he was sitting in his studio

0:37:19.640 --> 0:37:22.640
<v Speaker 1>drawing all of this stuff with a pencil. Now, really

0:37:22.840 --> 0:37:25.400
<v Speaker 1>let it sink in that he carved these things in

0:37:25.600 --> 0:37:29.719
<v Speaker 1>reverse out of wood or limestone or limestone and then

0:37:29.880 --> 0:37:35.400
<v Speaker 1>use these crazy techniques to make these extraordinarily detailed, incredibly

0:37:35.760 --> 0:37:40.440
<v Speaker 1>precise and technical works of art. It's amazing. It really

0:37:40.480 --> 0:37:43.120
<v Speaker 1>is amazing, truly astounding, And like you said, there are

0:37:43.160 --> 0:37:47.080
<v Speaker 1>a few of those stones and woodblocks that are owned

0:37:47.080 --> 0:37:50.160
<v Speaker 1>by the mc Escher Foundation puts on every single one

0:37:50.160 --> 0:37:52.440
<v Speaker 1>of them, and apparently they will they will display them

0:37:52.440 --> 0:37:56.640
<v Speaker 1>occasionally along with his works, right, which I imagine seeing

0:37:56.680 --> 0:37:59.160
<v Speaker 1>that and then looking at the work of art, and

0:37:59.200 --> 0:38:01.759
<v Speaker 1>then going back looking at that limestone and then looking

0:38:01.800 --> 0:38:04.160
<v Speaker 1>at the work of art. It really kind of sinks in, like,

0:38:04.239 --> 0:38:07.440
<v Speaker 1>oh my, yeah, I'd love to see an exhibition of

0:38:07.520 --> 0:38:11.560
<v Speaker 1>his stuff me too. They've picked up in recent years. Yeah,

0:38:11.560 --> 0:38:14.920
<v Speaker 1>it seems like he's being more appreciated, uh as a

0:38:14.960 --> 0:38:19.480
<v Speaker 1>truly great artist and less college dorm wall material. In

0:38:19.840 --> 0:38:23.600
<v Speaker 1>two thousand and eleven, the record for highest overall attendance

0:38:23.719 --> 0:38:26.000
<v Speaker 1>in the world out of all the museums in the

0:38:26.000 --> 0:38:30.200
<v Speaker 1>world that year, was at the Centro Cultural bank oh To, Brazil,

0:38:30.760 --> 0:38:36.480
<v Speaker 1>which held their Magical World of Escher exhibit seventy thousand visitors,

0:38:37.000 --> 0:38:41.000
<v Speaker 1>about ten thousand a day. Yep. So, if you think

0:38:41.200 --> 0:38:45.640
<v Speaker 1>lithography and woodcutting sounds difficult. We'll talk a minute about

0:38:45.880 --> 0:38:50.520
<v Speaker 1>meso tent Uh. That is sort of like wood cutting,

0:38:50.920 --> 0:38:54.000
<v Speaker 1>except you're using a sheet of copper that starts out

0:38:54.040 --> 0:38:57.280
<v Speaker 1>as a rough surface and then use these little tools

0:38:57.320 --> 0:39:00.000
<v Speaker 1>to smooth out things that are going to be the image,

0:39:00.600 --> 0:39:03.120
<v Speaker 1>applying that ink and then wiping it off. Right, So

0:39:03.280 --> 0:39:07.120
<v Speaker 1>the places you smooth out are don't have ink, the

0:39:07.160 --> 0:39:09.320
<v Speaker 1>ones that are gonna be white on the paper, blank

0:39:09.560 --> 0:39:12.359
<v Speaker 1>on the paper, right. Um, it's the rough edges that

0:39:12.400 --> 0:39:15.359
<v Speaker 1>hold the ink. So you cover the whole thing with ink,

0:39:15.640 --> 0:39:19.440
<v Speaker 1>wipe it down. The smooth starts parts, parts come clean.

0:39:19.880 --> 0:39:23.719
<v Speaker 1>The rough stuff um has the ink, and you can

0:39:23.800 --> 0:39:26.239
<v Speaker 1>use this like this is this isn't like oh look

0:39:26.239 --> 0:39:31.800
<v Speaker 1>I made an next this is like incredibly fine um

0:39:32.200 --> 0:39:35.600
<v Speaker 1>stipling is possible with these copper plates and all. This

0:39:35.960 --> 0:39:38.919
<v Speaker 1>a meso tint. And that I that you were talking

0:39:38.960 --> 0:39:40.920
<v Speaker 1>about going with the skull, if you go back and

0:39:40.960 --> 0:39:43.319
<v Speaker 1>look at that, that was a meso tint. Yeah, it

0:39:43.360 --> 0:39:48.000
<v Speaker 1>was dew drop, very detailed cupped leaf showing a single

0:39:48.080 --> 0:39:50.799
<v Speaker 1>drop of dew inside it, with all kinds of cool reflections.

0:39:51.480 --> 0:39:54.399
<v Speaker 1>But Estra called this the black art. Uh. He only

0:39:54.440 --> 0:39:57.480
<v Speaker 1>made eight of these because it is a real undertaking,

0:39:58.120 --> 0:40:01.759
<v Speaker 1>and I think he is. He did a handful of

0:40:01.840 --> 0:40:04.719
<v Speaker 1>him and then moved on to the far easier woodcutting.

0:40:05.000 --> 0:40:10.200
<v Speaker 1>Right right, He's like, I came back, baby, all right,

0:40:10.239 --> 0:40:12.759
<v Speaker 1>Well we'll take a break and then we'll come back

0:40:12.800 --> 0:40:15.600
<v Speaker 1>and pick up with his life story again, which is

0:40:15.719 --> 0:40:18.160
<v Speaker 1>I believably left off in what end of World War two?

0:40:18.360 --> 0:40:43.759
<v Speaker 1>Sounds right? All right? Okay, world War two is over?

0:40:44.840 --> 0:40:48.480
<v Speaker 1>Uh mc yesher was, like a lot of people, very

0:40:48.560 --> 0:40:53.200
<v Speaker 1>rattled by that experience in Europe. And at this point

0:40:53.280 --> 0:40:56.839
<v Speaker 1>he's still is not a super famous artist making tons

0:40:56.880 --> 0:40:59.840
<v Speaker 1>of money. No, but he's more famous than than this

0:41:00.040 --> 0:41:02.719
<v Speaker 1>makes him out to be. Like he he's he's got

0:41:02.760 --> 0:41:07.000
<v Speaker 1>some renown in the Netherlands or certain circle tibbits. Yeah, um,

0:41:07.040 --> 0:41:10.920
<v Speaker 1>but he's not anywhere anywhere even approaching how he is

0:41:10.960 --> 0:41:13.040
<v Speaker 1>today or how he has been the last few decades,

0:41:13.040 --> 0:41:15.960
<v Speaker 1>since about like the late sixties. Yeah, college dorms have

0:41:16.040 --> 0:41:18.880
<v Speaker 1>not yet started putting his stuff everywhere. No, but the

0:41:19.000 --> 0:41:22.799
<v Speaker 1>people who who most appreciate what he's doing our scientists

0:41:22.800 --> 0:41:26.520
<v Speaker 1>and mathematicians who are like this is astounding. This guy

0:41:26.800 --> 0:41:30.040
<v Speaker 1>is taking what we write out as formulas and turning

0:41:30.080 --> 0:41:33.479
<v Speaker 1>them into art. And making them precise, like you could

0:41:33.480 --> 0:41:37.239
<v Speaker 1>describe this work of art as a formula. That's that

0:41:37.360 --> 0:41:39.360
<v Speaker 1>is what mc escher was able to do. He was

0:41:39.400 --> 0:41:42.960
<v Speaker 1>able to take math and translated into a visual art. Yeah.

0:41:43.080 --> 0:41:45.440
<v Speaker 1>And uh, you know, remember what you said earlier. This

0:41:45.480 --> 0:41:48.480
<v Speaker 1>is where we are in his life. Where he is, Um,

0:41:48.520 --> 0:41:51.240
<v Speaker 1>he is not in the Italian countryside. He's been ripped

0:41:51.239 --> 0:41:54.000
<v Speaker 1>from its bodice. So his muse has gone and he

0:41:54.120 --> 0:41:56.680
<v Speaker 1>is now looking inward for his inspiration in his own,

0:41:57.280 --> 0:42:00.440
<v Speaker 1>um unique brain. He's being forced into his own bodice.

0:42:00.560 --> 0:42:04.840
<v Speaker 1>Face first, Uh, this is where he starts with these tessellations,

0:42:05.239 --> 0:42:08.920
<v Speaker 1>more elaborate geometric shapes. He's doing the lizards and the

0:42:08.960 --> 0:42:13.880
<v Speaker 1>birds and the insects. Is tessellations really really cool stuff? Um?

0:42:13.920 --> 0:42:16.520
<v Speaker 1>His brother said, hey, dude, you know what you should

0:42:16.560 --> 0:42:19.040
<v Speaker 1>do is go talk to a crystallographer. He's like, if

0:42:19.080 --> 0:42:22.120
<v Speaker 1>you want to talk detailed shapes and math. Uh, And

0:42:22.160 --> 0:42:24.560
<v Speaker 1>he does so and that taught him a lot. And

0:42:24.600 --> 0:42:28.800
<v Speaker 1>then he learned about the seventeen seventeen wallpaper groups, which

0:42:29.480 --> 0:42:32.239
<v Speaker 1>is so dense that you know, how much do we

0:42:32.280 --> 0:42:34.960
<v Speaker 1>even want to talk about it? Well, the we'll just

0:42:34.960 --> 0:42:37.480
<v Speaker 1>sum it up. The seventeen wallpaper groups basically is a

0:42:37.520 --> 0:42:42.960
<v Speaker 1>mathematical concept that says every geometric pattern two dimensional geometric

0:42:43.040 --> 0:42:46.480
<v Speaker 1>pattern falls into one of seventeen categories. There's only seventeen,

0:42:46.760 --> 0:42:50.040
<v Speaker 1>and they're called, kind of half jokingly, the wallpaper groups,

0:42:50.040 --> 0:42:54.200
<v Speaker 1>because wallpaper has geometric patterns are usually right. Um, as

0:42:54.239 --> 0:42:58.760
<v Speaker 1>your couldn't understand it mathematically. Yeah, it was proved out

0:42:59.040 --> 0:43:02.960
<v Speaker 1>twice independently that there are seven teen wallpapers, and the

0:43:02.960 --> 0:43:05.520
<v Speaker 1>mathematical proof. One of the things that's interesting, Chuck, is

0:43:05.520 --> 0:43:09.840
<v Speaker 1>the Alhambra apparently is the only place in the world

0:43:10.200 --> 0:43:16.160
<v Speaker 1>that contains all seventeen geometric wallpaper patterns. That's pretty cool. Yeah,

0:43:16.280 --> 0:43:19.120
<v Speaker 1>so of course this would appeal to Esher, but he

0:43:19.160 --> 0:43:22.279
<v Speaker 1>didn't understand. He couldn't sit down and explain, like, we

0:43:22.440 --> 0:43:25.719
<v Speaker 1>can't what the seven team wallpaper groups are or what

0:43:25.760 --> 0:43:29.719
<v Speaker 1>they mean mathematically, but he understood them intuitively, and as

0:43:29.719 --> 0:43:36.000
<v Speaker 1>he became friends with mathematicians, uh you know, about mid career, um,

0:43:36.080 --> 0:43:39.040
<v Speaker 1>he was apparently kind of amused to find like, you know,

0:43:39.120 --> 0:43:41.600
<v Speaker 1>these guys spend all this time writing this stuff out

0:43:41.600 --> 0:43:44.000
<v Speaker 1>in these formulas, and I just know it. It was

0:43:44.000 --> 0:43:46.919
<v Speaker 1>almost like I was born knowing it. Yeah, I mean,

0:43:47.000 --> 0:43:49.919
<v Speaker 1>I guess he was real cocky. Yeah, he wasn't really

0:43:50.600 --> 0:43:52.560
<v Speaker 1>And I didn't get the idea either that he was

0:43:52.640 --> 0:43:55.920
<v Speaker 1>like take your math and shove it. He was just

0:43:55.960 --> 0:43:58.560
<v Speaker 1>a little more amused that, like you've got these mathematical

0:43:58.600 --> 0:44:02.759
<v Speaker 1>proofs that uh like, I'm drawing this stuff from my

0:44:02.800 --> 0:44:09.160
<v Speaker 1>creative brain on limestone, limestone, cutting it out of wood. Uh.

0:44:09.200 --> 0:44:12.200
<v Speaker 1>So I think he appreciated the way they coalesced. But

0:44:12.480 --> 0:44:14.799
<v Speaker 1>uh and he was very like you said, most of

0:44:14.800 --> 0:44:18.000
<v Speaker 1>his friends were mathematicians, I think later in life. Who

0:44:18.000 --> 0:44:21.640
<v Speaker 1>did he have roses? Yeah, Roger and Lionel Penrose, which

0:44:22.040 --> 0:44:24.719
<v Speaker 1>I love how it was described here, father and son

0:44:24.840 --> 0:44:30.120
<v Speaker 1>mathematician team. Yeah, you know those they were matching dolphins shorts,

0:44:31.880 --> 0:44:34.200
<v Speaker 1>oh man, part of their uniform. I wish people still

0:44:34.239 --> 0:44:37.399
<v Speaker 1>were those. You'd you ever were those? No, they were

0:44:37.440 --> 0:44:40.080
<v Speaker 1>a little before my time. Well they were for joggers

0:44:40.680 --> 0:44:46.880
<v Speaker 1>and runners. Yeah, and eleven and who do I forgot

0:44:46.920 --> 0:44:50.480
<v Speaker 1>about that? Yeah? That is what Hooters waitress shorts with.

0:44:50.800 --> 0:44:54.879
<v Speaker 1>Remember bronze pantyhose yeah, and then chunky white socks. Yeah.

0:44:54.960 --> 0:44:57.600
<v Speaker 1>And it was a very high top. Was bizarre and interesting.

0:44:57.600 --> 0:45:01.440
<v Speaker 1>Look somebody put that together and not a. Um, do

0:45:01.480 --> 0:45:06.520
<v Speaker 1>you remember there was a there was a Hooters airline? What? Yeah, wow,

0:45:06.600 --> 0:45:09.160
<v Speaker 1>that kind of rings a bell. Yeah, that was very

0:45:09.160 --> 0:45:11.520
<v Speaker 1>short lived, I imagine, I believe, so it was pretty

0:45:11.520 --> 0:45:14.759
<v Speaker 1>short lived. Interesting, I guess. Yeah. So you would get

0:45:14.760 --> 0:45:17.880
<v Speaker 1>asked like what kind of drink and what style of

0:45:17.960 --> 0:45:20.720
<v Speaker 1>chicken wings do you want? Everything did serve chicken wings

0:45:20.719 --> 0:45:23.200
<v Speaker 1>on those, of course, But can you imagine being on

0:45:23.239 --> 0:45:25.680
<v Speaker 1>an airplane being forced to smell chicken wings the whole

0:45:25.680 --> 0:45:28.520
<v Speaker 1>time if you didn't like it. That's like every flight

0:45:28.600 --> 0:45:31.720
<v Speaker 1>I ever take. It's true, there's somebody with some stinky food.

0:45:31.840 --> 0:45:34.120
<v Speaker 1>You know. If I sit next to somebody on the

0:45:34.120 --> 0:45:36.200
<v Speaker 1>plane and I'm going to eat, I asked them if

0:45:36.200 --> 0:45:38.600
<v Speaker 1>it's okay if I eat, Like if you bring food on.

0:45:39.960 --> 0:45:42.880
<v Speaker 1>I don't bring food onto a flight sometimes, dude, you

0:45:43.000 --> 0:45:46.440
<v Speaker 1>just have to. It's a long flight and run out

0:45:46.440 --> 0:45:48.880
<v Speaker 1>of turkey wraps, like in the first half a second,

0:45:49.160 --> 0:45:51.839
<v Speaker 1>so you just pull out your what my kung pao

0:45:52.120 --> 0:45:53.759
<v Speaker 1>out of your pocket you had just in case they're

0:45:53.760 --> 0:45:56.360
<v Speaker 1>out of turkey raps, not even in a container, just

0:45:56.440 --> 0:46:01.040
<v Speaker 1>in my pocket. Oh goodness. So I thought this part

0:46:01.120 --> 0:46:03.880
<v Speaker 1>was sort of amusing. Um, how orderly he always was

0:46:03.920 --> 0:46:08.440
<v Speaker 1>with his art, and he tried to get into chaos

0:46:08.560 --> 0:46:13.520
<v Speaker 1>a bit in this one work contrast Parentheses Order and

0:46:13.600 --> 0:46:18.239
<v Speaker 1>Chaos Parentheses, wherein he went in dug up a bunch

0:46:18.280 --> 0:46:21.240
<v Speaker 1>of trash and said, I will I will draw chaos,

0:46:22.080 --> 0:46:23.879
<v Speaker 1>and it ended up being if you go and look

0:46:23.920 --> 0:46:26.759
<v Speaker 1>at it, there's like a broken bottle, broken eggshell and

0:46:26.840 --> 0:46:29.239
<v Speaker 1>open sardine tin and broken clay pipe and some other

0:46:29.280 --> 0:46:34.040
<v Speaker 1>refuse drawn to like perfect or I guess woodcutter lithographed

0:46:34.320 --> 0:46:39.279
<v Speaker 1>with perfect, beautiful precision. That was chaos his interpretation of it.

0:46:39.320 --> 0:46:41.680
<v Speaker 1>He just couldn't do it. He was very much preoccupied

0:46:41.680 --> 0:46:43.839
<v Speaker 1>with Kassi has a very famous quote, probably his most

0:46:43.840 --> 0:46:47.480
<v Speaker 1>famous coat quote, we adore chaos because we love to

0:46:47.520 --> 0:46:52.319
<v Speaker 1>produce order. And he's like, by we, I mean me, Yeah. Sure,

0:46:52.880 --> 0:46:55.080
<v Speaker 1>sounded very much like an eye statement, but he was.

0:46:55.239 --> 0:46:58.960
<v Speaker 1>He was very much into geometry and precision and clean

0:46:59.040 --> 0:47:02.120
<v Speaker 1>lines and all that. Yeah. And also as his career

0:47:02.160 --> 0:47:08.800
<v Speaker 1>would progress, this this these repeating patterns on a finite space. Um.

0:47:08.840 --> 0:47:11.759
<v Speaker 1>If you've seen his circle limit series, that's where you'll

0:47:11.760 --> 0:47:15.000
<v Speaker 1>find the fish or these demons. And they start out

0:47:15.040 --> 0:47:17.200
<v Speaker 1>with like one in the center and then there's a

0:47:17.239 --> 0:47:19.480
<v Speaker 1>pattern all around, and it as it gets closer and

0:47:19.480 --> 0:47:21.600
<v Speaker 1>close to the edge, they get smaller and smaller and smaller,

0:47:22.120 --> 0:47:23.880
<v Speaker 1>and you can just sort of imagine that there is

0:47:23.920 --> 0:47:27.799
<v Speaker 1>no end to these shapes, that they're just going infinitely

0:47:27.840 --> 0:47:30.680
<v Speaker 1>around this sphere perfectly. But again you have to stop

0:47:30.680 --> 0:47:32.919
<v Speaker 1>and remind yourself this is a two dimensional image I'm

0:47:32.920 --> 0:47:36.320
<v Speaker 1>looking at. And then secondly this is cut out of wood.

0:47:38.160 --> 0:47:41.200
<v Speaker 1>But yeah, he apparently made a three dimensional wood carving

0:47:41.320 --> 0:47:43.759
<v Speaker 1>of his circle limits series later in life. And I'll

0:47:43.800 --> 0:47:46.440
<v Speaker 1>bet that's spectacular to see. Two he made it, what

0:47:46.680 --> 0:47:50.040
<v Speaker 1>a three dimensional wood carving of it, basically proving that

0:47:50.360 --> 0:47:54.040
<v Speaker 1>his his two dimensional drawing was accurate. Yeah, because he

0:47:54.120 --> 0:47:57.880
<v Speaker 1>made it in the three dimensions. That's awesome. Yeah, it's pretty.

0:47:57.960 --> 0:48:00.440
<v Speaker 1>He was just showing off towards the end there. I

0:48:00.520 --> 0:48:05.160
<v Speaker 1>like reptiles aside from his early countryside work, that is

0:48:05.239 --> 0:48:09.239
<v Speaker 1>far superior. The tessellation of the lizards and reptiles is

0:48:09.239 --> 0:48:12.320
<v Speaker 1>really neat. That's the one that has the lizards being

0:48:13.000 --> 0:48:17.080
<v Speaker 1>like crawling off of the page as a drawn image,

0:48:17.440 --> 0:48:20.239
<v Speaker 1>circling around, walking over some books, and then crawling back

0:48:20.320 --> 0:48:23.839
<v Speaker 1>over onto the page as a drawn image. Yeah, very neat.

0:48:24.040 --> 0:48:27.200
<v Speaker 1>It's a it's a lot like the hands drawing or

0:48:27.320 --> 0:48:31.080
<v Speaker 1>drawing hands one kind of where the hands are drawing

0:48:31.160 --> 0:48:34.320
<v Speaker 1>themselves or one another, but they're also three dimensional two

0:48:34.600 --> 0:48:37.040
<v Speaker 1>and that actually kind of jobs with another quote he

0:48:37.120 --> 0:48:40.480
<v Speaker 1>had um that I think really sums that style of

0:48:40.680 --> 0:48:44.200
<v Speaker 1>art up. He said, the flat shape irritates me. I

0:48:44.239 --> 0:48:47.000
<v Speaker 1>feel as if I were shouting to my figures, you

0:48:47.080 --> 0:48:50.280
<v Speaker 1>are too fictitious for me. You just lie there, static

0:48:50.320 --> 0:48:53.360
<v Speaker 1>and frozen together. Do something. Come out of there and

0:48:53.480 --> 0:48:56.560
<v Speaker 1>show me what you are capable of. And he would

0:48:56.560 --> 0:48:58.600
<v Speaker 1>shout it just like that, and then Jetta would back

0:48:58.600 --> 0:49:02.840
<v Speaker 1>out of the room slowly, pekay, dear your t uh.

0:49:02.920 --> 0:49:05.359
<v Speaker 1>And that sort of brings us to with the reptiles. Uh.

0:49:05.480 --> 0:49:08.839
<v Speaker 1>We we need to talk a little bit about illusion, um,

0:49:08.880 --> 0:49:12.879
<v Speaker 1>because it started sort of early on. He was preoccupied

0:49:12.920 --> 0:49:16.120
<v Speaker 1>with illusion, whether it was like these lizards coming off

0:49:16.200 --> 0:49:20.239
<v Speaker 1>the page or still life in Street, which is a

0:49:20.320 --> 0:49:23.920
<v Speaker 1>tabletop that blends into a street scene. Yeah, it's really cool.

0:49:24.040 --> 0:49:28.080
<v Speaker 1>I like that one too, um. Or relativity, which I

0:49:28.080 --> 0:49:30.160
<v Speaker 1>don't know, I mean, is there a most famous maybe

0:49:30.160 --> 0:49:34.680
<v Speaker 1>hands it's between hands self portrait with sphere and relativity.

0:49:34.840 --> 0:49:37.719
<v Speaker 1>Relativity is the one with the staircases and people going

0:49:37.800 --> 0:49:41.440
<v Speaker 1>up and downstairs that don't go anywhere, but they go everywhere,

0:49:41.480 --> 0:49:43.759
<v Speaker 1>and they circle back on each other, and it's just

0:49:43.840 --> 0:49:48.080
<v Speaker 1>an impossible staircase actually called Penrose stairs. Oh really yeah,

0:49:48.120 --> 0:49:52.040
<v Speaker 1>after the famous father and son mathematician team, and speaking

0:49:52.040 --> 0:49:54.920
<v Speaker 1>of the Penrose Is, they'd just say, mathemagician, I just

0:49:54.960 --> 0:49:59.480
<v Speaker 1>invented something I did that's amazing, completely by accident, um

0:49:59.520 --> 0:50:02.840
<v Speaker 1>the pen Roses. That would be great math magician. I

0:50:02.880 --> 0:50:10.960
<v Speaker 1>bet that's something for But the Penroses apparently wrote they

0:50:11.000 --> 0:50:14.320
<v Speaker 1>saw some of Esher's work, wrote a paper explaining his

0:50:14.480 --> 0:50:18.400
<v Speaker 1>work about impossible things like impossible stairs, which came to

0:50:18.440 --> 0:50:23.240
<v Speaker 1>be called Penrose stairs. And uh, Escher was either mailed

0:50:23.280 --> 0:50:25.560
<v Speaker 1>a copy of this or somebody pointed out to him,

0:50:25.680 --> 0:50:29.760
<v Speaker 1>so he created something called house of stairs or upstairs downstairs,

0:50:29.800 --> 0:50:32.239
<v Speaker 1>one of the two, and Um sent one of the

0:50:32.239 --> 0:50:35.719
<v Speaker 1>original prints to the Penroses. So in a way their

0:50:35.760 --> 0:50:39.279
<v Speaker 1>correspondence and inspiration for one another was like a set

0:50:39.320 --> 0:50:44.319
<v Speaker 1>of impossible stairs in real life. That interesting. And this

0:50:44.400 --> 0:50:46.680
<v Speaker 1>is you know, we were talking earlier about how his

0:50:46.719 --> 0:50:51.720
<v Speaker 1>works somehow felt unsettling, and you know the subject matter

0:50:51.760 --> 0:50:55.520
<v Speaker 1>as well. When you think about these the subjects walking

0:50:55.560 --> 0:51:00.759
<v Speaker 1>in relativity, clearly never getting anywhere, walking downstairs sideways. All

0:51:00.760 --> 0:51:04.040
<v Speaker 1>of a sudden, I'm walking back into the same staircase

0:51:04.080 --> 0:51:06.560
<v Speaker 1>I was just on. Like you imagine if these things

0:51:06.560 --> 0:51:11.000
<v Speaker 1>were to come alive, they would be frustrated, angry people. Right.

0:51:11.120 --> 0:51:13.439
<v Speaker 1>And as a matter of fact, one of the um

0:51:13.520 --> 0:51:18.160
<v Speaker 1>the one that you're just talking about upstairs, downstairs, they

0:51:18.239 --> 0:51:24.120
<v Speaker 1>that was supposedly based on some a staircase in his school,

0:51:25.280 --> 0:51:27.919
<v Speaker 1>which suddenly says quite a bit about his psychology. Don't

0:51:27.920 --> 0:51:31.240
<v Speaker 1>you think, well, how so well? I mean, like these

0:51:31.239 --> 0:51:33.839
<v Speaker 1>these students aren't going anywhere, they're not even human their

0:51:33.920 --> 0:51:37.480
<v Speaker 1>centipedes with human faces, and they're kind of trapped in

0:51:37.520 --> 0:51:43.600
<v Speaker 1>this what you could definitely call like a uh a

0:51:43.719 --> 0:51:49.120
<v Speaker 1>purposeless existence in this building. It's kind of a dark building. Interesting.

0:51:49.680 --> 0:51:53.799
<v Speaker 1>So he does finally achieve really great fame later in

0:51:53.840 --> 0:51:57.440
<v Speaker 1>his life. Like you said, he was holding exhibitions in

0:51:57.480 --> 0:52:00.239
<v Speaker 1>the Netherlands and in a little bit in Europe, but

0:52:00.600 --> 0:52:03.799
<v Speaker 1>he did one in Belgium in ninety that led to

0:52:04.760 --> 0:52:07.960
<v Speaker 1>an article in The Studio, which was an art magazine,

0:52:08.680 --> 0:52:11.919
<v Speaker 1>and that captured the attention of a journalist who wrote

0:52:11.920 --> 0:52:15.320
<v Speaker 1>about him in Time and Life magazines, which definitely propped

0:52:15.360 --> 0:52:18.120
<v Speaker 1>him up a little bit. Uh. Then that led to

0:52:18.160 --> 0:52:22.359
<v Speaker 1>a larger exhibition at the International Mathematical Congress in fifty four.

0:52:23.719 --> 0:52:27.960
<v Speaker 1>Flash forward to sixty six, he was featured in Um

0:52:28.120 --> 0:52:33.240
<v Speaker 1>Mathematical Games column in Scientific American by Martin Gardner Mathew magician.

0:52:34.400 --> 0:52:38.880
<v Speaker 1>I guarantee that's the thing Um, And that increased his

0:52:38.960 --> 0:52:40.880
<v Speaker 1>And this was sixty six, so it was kind of

0:52:40.960 --> 0:52:44.600
<v Speaker 1>perfect timing with the hippies and the drugs and the counterculture.

0:52:45.000 --> 0:52:48.160
<v Speaker 1>And I guess who was it, Graham Nash, Graham Nash

0:52:48.360 --> 0:52:50.960
<v Speaker 1>Mick Jagger sent him a fan ladder and made the

0:52:51.000 --> 0:52:54.359
<v Speaker 1>mistake of calling him by his first name. Sasure did

0:52:54.360 --> 0:52:57.799
<v Speaker 1>not appreciate Um. Stanley Kubrick tried to recruit him to

0:52:57.880 --> 0:53:01.040
<v Speaker 1>make two thousand one of Space Autists see a fourth

0:53:01.040 --> 0:53:04.719
<v Speaker 1>dimensional film. Huh. Yeah, there's this interesting article called the

0:53:04.719 --> 0:53:07.600
<v Speaker 1>Impossible World of mc Escher that Stephen Poole wrote in

0:53:07.600 --> 0:53:09.960
<v Speaker 1>The Guardian that has a lot of that stuff in it.

0:53:10.040 --> 0:53:11.759
<v Speaker 1>But he was he was kind of like, no, I'm

0:53:11.800 --> 0:53:15.319
<v Speaker 1>good over here with the math mathematician friends. Well, once

0:53:15.320 --> 0:53:19.360
<v Speaker 1>he was featured in Scientific American, that led to the

0:53:19.400 --> 0:53:21.520
<v Speaker 1>big daddy of them all. He got featured in Rolling

0:53:21.520 --> 0:53:24.200
<v Speaker 1>Stone and then after that it was it was all over.

0:53:24.280 --> 0:53:30.439
<v Speaker 1>He was huge, dorm room, huge fight works. Uh, then

0:53:30.440 --> 0:53:33.120
<v Speaker 1>this doesn't count all the sketches and drafts. These are

0:53:33.160 --> 0:53:37.080
<v Speaker 1>like the actual final works. And like we said earlier,

0:53:37.120 --> 0:53:40.960
<v Speaker 1>he died in two cancer the age of seventy three.

0:53:41.280 --> 0:53:43.680
<v Speaker 1>And I tried to find more about his family, but

0:53:43.680 --> 0:53:45.480
<v Speaker 1>there's not a lot out there, like his sons and

0:53:45.520 --> 0:53:47.920
<v Speaker 1>whether or not his I mean, I guess his grandkids

0:53:47.960 --> 0:53:53.560
<v Speaker 1>would be contemporaries of ours. Yep, I don't know, like

0:53:53.640 --> 0:53:58.640
<v Speaker 1>he was born in eight well, great grandkids maybe, yeah, Okay,

0:53:58.640 --> 0:54:02.200
<v Speaker 1>I guess if his kids were born in the nineteen twenties, Yeah,

0:54:02.280 --> 0:54:07.520
<v Speaker 1>contemporaries of our parents. Maybe the old stars Yeah boomers

0:54:07.920 --> 0:54:13.560
<v Speaker 1>boomery boomer um. So we get that right. In that

0:54:13.560 --> 0:54:16.319
<v Speaker 1>that Journey to Infinity movie, apparently all three of his

0:54:16.440 --> 0:54:18.799
<v Speaker 1>children appear in it. If you want to know more

0:54:18.800 --> 0:54:22.520
<v Speaker 1>about them, go watch that. I saw one picture of

0:54:22.600 --> 0:54:25.040
<v Speaker 1>him where he looked a lot like our old colleague

0:54:25.120 --> 0:54:27.839
<v Speaker 1>John Fuller when John had a beard. Oh yeah he did,

0:54:27.880 --> 0:54:30.279
<v Speaker 1>didn't it's a little bit like him. Yeah, it's not

0:54:30.320 --> 0:54:34.520
<v Speaker 1>expecting that. So there's mc sure that. Speaking of not

0:54:34.600 --> 0:54:43.360
<v Speaker 1>expecting that, uh, Bikini Babe on Corvette and Hooters Airline

0:54:43.560 --> 0:54:46.480
<v Speaker 1>made appearances in the MCS. I just want to point out,

0:54:47.000 --> 0:54:48.759
<v Speaker 1>if you want to know more about any of those things,

0:54:48.760 --> 0:54:52.200
<v Speaker 1>go on to the Internet and start searching. And since

0:54:52.239 --> 0:54:57.359
<v Speaker 1>I said that, it's time for listener mail. Hey, guys

0:54:57.400 --> 0:54:59.319
<v Speaker 1>have been listening to your show since two thousand eleven.

0:54:59.320 --> 0:55:02.960
<v Speaker 1>They even see I've even seen you on your first

0:55:03.000 --> 0:55:05.399
<v Speaker 1>amazing show in Chicago and had to wait a whole

0:55:05.480 --> 0:55:09.280
<v Speaker 1>year to hear that on the podcast. That's how it works.

0:55:11.680 --> 0:55:13.440
<v Speaker 1>It's not even guaranteed that it's going to be the

0:55:13.640 --> 0:55:16.359
<v Speaker 1>show you saw. Yeah. A lot of podcasts put out

0:55:16.600 --> 0:55:20.279
<v Speaker 1>just tons and tons of live shows. Uh, we don't

0:55:20.280 --> 0:55:23.279
<v Speaker 1>do that. Yeah, and I honestly think the live shows

0:55:23.280 --> 0:55:25.359
<v Speaker 1>are a little better in person. I don't think they

0:55:25.360 --> 0:55:27.879
<v Speaker 1>make as a fan of other podcasts, I don't think

0:55:27.880 --> 0:55:30.960
<v Speaker 1>they make for the best just regular content. I think

0:55:31.000 --> 0:55:33.160
<v Speaker 1>most people think that, but we we just so that's

0:55:33.160 --> 0:55:35.520
<v Speaker 1>why we only put out the one. So back to

0:55:35.560 --> 0:55:37.560
<v Speaker 1>the letter, this show is so great. I would even

0:55:37.680 --> 0:55:40.719
<v Speaker 1>save high interest episodes for my son to listen to

0:55:40.800 --> 0:55:43.879
<v Speaker 1>over the years. Uh, you were one of the few

0:55:43.880 --> 0:55:46.120
<v Speaker 1>people that can keep his attention. I never thought it

0:55:46.160 --> 0:55:48.160
<v Speaker 1>would write, but as a science teacher, you said something

0:55:48.280 --> 0:55:50.520
<v Speaker 1>recently that it's so true. Some of the best science

0:55:50.520 --> 0:55:54.520
<v Speaker 1>websites are children's science websites. Or if a definition is

0:55:54.560 --> 0:55:56.920
<v Speaker 1>too difficult, I always tell people to look up a

0:55:57.000 --> 0:56:00.520
<v Speaker 1>child's definition for that word. Uh. Really good tip, guys.

0:56:00.760 --> 0:56:03.040
<v Speaker 1>Thanks for sharing that. Thanks for all your work, and

0:56:03.080 --> 0:56:04.880
<v Speaker 1>now I don't have to figure out what to do

0:56:05.480 --> 0:56:08.320
<v Speaker 1>now that I am finally caught up. Keep up the

0:56:08.360 --> 0:56:10.680
<v Speaker 1>great work. And that is from Jenny with an Eye.

0:56:11.000 --> 0:56:13.480
<v Speaker 1>Thanks Jenny with an eye. Hopefully you dot the eye

0:56:13.480 --> 0:56:16.160
<v Speaker 1>with the heart, maybe with a little reflection on the

0:56:16.200 --> 0:56:19.160
<v Speaker 1>side of the heart. Remember that one two curve lines

0:56:19.280 --> 0:56:22.719
<v Speaker 1>top with topped and uh, I guess bottomed with a

0:56:22.800 --> 0:56:25.080
<v Speaker 1>straight line. I think I know what you're talking about here.

0:56:25.080 --> 0:56:32.280
<v Speaker 1>I'll show you, oh boy, since we just oh sure

0:56:32.520 --> 0:56:36.839
<v Speaker 1>that yeah, yeah, it almost looks like a bent Roman

0:56:36.920 --> 0:56:40.320
<v Speaker 1>numeral two inside the heart. That's a that's the reflection

0:56:40.480 --> 0:56:43.040
<v Speaker 1>of light. That's where the lights coming from. It's beautiful.

0:56:43.040 --> 0:56:47.640
<v Speaker 1>Thanks treasure that you're welcome to I wasn't gonna give

0:56:47.680 --> 0:56:49.479
<v Speaker 1>it to you, but now I have to just sign

0:56:49.520 --> 0:56:51.600
<v Speaker 1>it first. If you want to get in touch with us,

0:56:51.640 --> 0:56:54.919
<v Speaker 1>you can go onto stuff you Should Know dot com

0:56:54.960 --> 0:56:57.000
<v Speaker 1>and look for our social links there, and you can

0:56:57.000 --> 0:56:58.880
<v Speaker 1>also send us an email like Jenny with an I

0:56:59.000 --> 0:57:03.280
<v Speaker 1>did you and send it to stuff podcast at iHeart

0:57:03.360 --> 0:57:09.120
<v Speaker 1>radio dot com. Stuff you Should Know is a production

0:57:09.160 --> 0:57:11.880
<v Speaker 1>of iHeart Radio's How Stuff Works. For more podcasts for

0:57:11.960 --> 0:57:14.719
<v Speaker 1>my heart Radio, visit the iHeart Radio app, Apple Podcasts,

0:57:14.800 --> 0:57:19.680
<v Speaker 1>or wherever you listen to your favorite shows. H