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• We live in a beautiful and orderly world, not in a chaos without norms, as we sometimes seem to.
  • As quoted in "Up and down Stairways : Escher, Bakhtin, and Joseph Andrews" by Astrid Masetti Lobo Costa in Studies in English Literature, 1500-1900, Vol. 31, No. 3, Restoration and Eighteenth Century (Summer 1991), pp. 553-568
  • Variant translation: We live in a beautiful and orderly world, not in a chaos without norms, even though this is how it sometimes appears.

• My work is a game, a very serious game.
  • As quoted in The Complete Idiot's Guide to the Perfect Cover Letter (1997) by Susan Ireland, p. 258

On Being a Graphic Artist

"On Being a Graphic Artist" (PDF file)

• It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint "for themselves": but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it’s music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions.

• The result of the struggle between the thought and the ability to express it, between dream and reality, is seldom more than a compromise or an approximation. Thus there is little chance that we will succeed in getting through to a large audience, and on the whole we are quite satisfied if we are understood and appreciated by a small number of sensitive, receptive people.

• It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet.

• When someone forgets himself, this by no means makes him altruistic; when a thinking person forgets himself, he immediately also forgets his fellowman, he loses himself and his humanity by becoming engrossed in his subject. Thus he is in a sense more contemplative than a feeling person.

• As far as I know, there is no proof whatever of the existence of an objective reality apart from our senses, and I do not see why we should accept the outside world as such solely by virtue of our senses. These reality enthusiasts are possibly playing at hide-and-seek; at any rate they like to hide themselves, though they are not usually aware of it. They simply do it because they happen to have been born with a sense of reality, that is, with a great interest in so- called reality, and because man likes to forget himself.

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

• In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?
  • Variant translations: Are you really sure that a floor can't also be a ceiling?
    I can't keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two and three dimensionalities, flat and spatial, and to make fun of gravity.

• It's pleasing to realize that quite a few people enjoy this sort of playfulness and that they are not afraid to look at the relative nature of rock-hard reality.

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

• lf l am not mistaken, the words "art" and "artist" did not exist during the Renaissance and before: there were simply architects, sculptors, and painters, practicing a trade.

• I am a graphic artist heart and soul, though I find the term "artist" rather embarrassing.

mcescher.com

Quoted at the official website: mcescher.com

• At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.

• I am always wandering around in enigmas. There are young people who constantly come to tell me: you, too, are making Op Art. I haven't the slightest idea what that is, Op Art. I've been doing this work for thirty years now.
  • Variant: I walk around in mysteries. Each time, youngsters say: you make Op-art too. I don't know what that is, Op-art. This work I have been making for the past thirty years.

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

• I could fill an entire second life with working on my prints.

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

• So let us then try to climb the mountain, not by stepping on what is below us, but to pull us up at what is above us, for my part at the stars; amen.

• The things I want to express are so beautiful and pure.

• To have peace with this peculiar life; to accept what we do not understand; to wait calmly for what awaits us, you have to be wiser than I am.