3 comments about The Pop-Up Book of M.C. Escher.

1. Pop up Book lovers need this in their collection. If you like the work of M. C. Escher this is great.



2. I bought this book to use in my third grader's study of M.C. Escher and tessellations. The pictures that make up the pop-ups are too small to use with a group and might be even too small and non-vibrant for children at all. The narration was adult-like. For adult Escher fans this is probably good, but for children, who adore pop-up books, it was a disappointment.



3. We have a good collection of pop-up books for our toddler, but this one is for the adults in the family. Eight representations of Escher's work are presented in black-and-white with one or two sentences of analysis and/or an explanatory quote by the artist. These short comments are interesting and informative, and it is made clear that Escher is precisely an artist whose ideas and work should be presented three-dimensionally. The eight presentations are: Ascending and Descending, Drawing Hands, Puddle, Hand with Reflecting Sphere, Mobius Strip II, Regular Division of the Plane V, Relativity, and Tower of Babel.

   These renditions don't knock your socks off, but they are thought-provoking and interesting -- fun for adults, not so much for children.

No comments about M.C. Escher: The Graphic Work (Special Edition).

2 comments about M.C. Escher: Coloring Book.

1. Color book for teen-agers and adults that want some occupational therapy. Images (as with Escher) are often redundant and beauty is in contemplating the infinite. Don't do this to your kid unless they are already well-advanced into neurosis! (Note: Two-page (non-redundant) "poster" is wonderful for those that like the whimsical style of Escher's creatures.)



2. This slim book is a superlative endeavor for the nascent artist who wishes to grok the tantalizing, intriguing and intricate creations of M. C. Escher's uniquely perceptive intellectual faculties. Do have ample fine- to medium-tipped pencils of several colors at your ready. Also. engage your answering machine to thwart interruption of your artistic pursuits.

5 comments about Godel, Escher, Bach: An Eternal Golden Braid.

1. Douglas Hofstadter uses the art of M.C. Escher, the music of J.S. Bach, and Kurt Goedel's mathematics as the centerpieces for a magnificent inquiry into the nature of the mind. Along the way you will encounter Bertrand Russel, Carroll Lewis, particle physics, molecular biology, Magritte's paintings, and Zen koans. These are all used to probe recursion and the mystery of how we form thoughts. But the list of topics alone is not what makes this book great, it's the playful, joyful sense that characterize's Hofstadter's treatment of this. This sense of wonder is critical, as without it this highly challenging book would be very frustrating. The book's style itself is based on Bach's canons, and the chapters are interspersed with dialogues between the Tortois and the Hare, in the style of Carroll's Alice in Wonderland. The result is an artistic as well as scientific or philisophical masterpiece. I am currently a triple-major in molecular biology, physics, and philosophy, and much of my curriculum has been influenced by the beauty of Hofstadter's book. This will go down as one of the 20th Century's bests books.



2. This book is a must for math majors (as well as many logic and philosophy majors). Anyone else in the hard sciences should also read this book, at least to be enlightened. Initially, it is easy reading, then becomes slightly foggy, but pushing through is rewarding. Of the three, my favorite is Godel and I always mention his Incompleteness Theorem whenever his name comes up. It his probably actually best mentioned by Rudy Rucker in his book "Infinity and the Mind". I think it is significant enough to mention here:

   ---
   The proof of Gödel's Incompleteness Theorem is so simple, and so sneaky, that it is almost embarassing to relate. His basic procedure is as follows:

   1. Someone introduces Gödel to a UTM, a machine that is supposed to be a Universal Truth Machine, capable of correctly answering any question at all.

   2. Gödel asks for the program and the circuit design of the UTM. The program may be complicated, but it can only be finitely long. Call the program P(UTM) for Program of the Universal Truth Machine.

   3. Smiling a little, Gödel writes out the following sentence: "The machine constructed on the basis of the program P(UTM) will never say that this sentence is true." Call this sentence G for Gödel. Note that G is equivalent to: "UTM will never say G is true."

   4. Now Gödel laughs his high laugh and asks UTM whether G is true or not.

   5. If UTM says G is true, then "UTM will never say G is true" is false. If "UTM will never say G is true" is false, then G is false (since G = "UTM will never say G is true"). So if UTM says G is true, then G is in fact false, and UTM has made a false statement. So UTM will never say that G is true, since UTM makes only true statements.

   6. We have established that UTM will never say G is true. So "UTM will never say G is true" is in fact a true statement. So G is true (since G = "UTM will never say G is true").

   7. "I know a truth that UTM can never utter," Gödel says. "I know that G is true. UTM is not truly universal."

   Think about it - it grows on you ...

   With his great mathematical and logical genius, Gödel was able to find a way (for any given P(UTM)) actually to write down a complicated polynomial equation that has a solution if and only if G is true. So G is not at all some vague or non-mathematical sentence. G is a specific mathematical problem that we know the answer to, even though UTM does not! So UTM does not, and cannot, embody a best and final theory of mathematics ...

   Although this theorem can be stated and proved in a rigorously mathematical way, what it seems to say is that rational thought can never penetrate to the final ultimate truth ... But, paradoxically, to understand Gödel's proof is to find a sort of liberation. For many logic students, the final breakthrough to full understanding of the Incompleteness Theorem is practically a conversion experience. This is partly a by-product of the potent mystique Gödel's name carries. But, more profoundly, to understand the essentially labyrinthine nature of the castle is, somehow, to be free of it.
   ---

   This is the kind of mental freedom you will gain by reading this book. Highly recommended.




3. The Atlanta Journal Constitution describes Gödel, Escher, Bach (GEB) as "A huge, sprawling literary marvel, a philosophy book, disguised as a book of entertainment, disguised as a book of instruction." That is the best one line description of this book that anybody could give. GEB is without a doubt the most interesting mathematical book that I have ever read, quickly making its place into the Top 5 books I have ever read.
   The introduction of the book, "Introduction: A Musico-Logical Offering" begins by quickly discussing the three main participants in the book, Gödel, Escher, and Bach. Gödel was a mathematician who founded Gödel's Incompleteness Theorem, which states, as Hofstadter paraphrases, "All consistent axiomatic formulations of number theory include undecidable propositions." This is what Hofstadter calls the pearl. This is one example of one of the recurring themes in GEB, strange loops.
   Strange loops occur when you move up or down in a hierarchical manner and eventually end up exactly where you started. The first example of a strange loop comes from Bach's Endlessly rising canon. This is a musical piece that continues to rise in key, modulating through the entire chromatic scale, ending at the same key with which he began. To emphasize the loop Bach wrote in the margin, "As the modulation rises, so may the King's Glory."
   The third loop in the introduction comes from an artist, Escher. Escher is famous for his paintings of paradoxes. A good example is his Waterfall; Hofstadter gives many examples of Escher's work, which truly exemplify the strange loop phenomenon.
   One feature of GEB, which I was particularly fond of, is the `little stories' in between each chapter of the book. These stories which star Achilles and the Tortoise of Lewis Carroll fame, are illustrations of the points which Hofstadter brings out in the chapters. They also serve as a guidepost to the careful reader who finds clues buried inside of these sections. Hofstadter introduces these stories by reproducing "What the Tortoise Said to Achilles" by Lewis Carroll. This illustrates Zeno's paradox, another example of a strange loop.
   In GEB Hofstadter comments on the trouble author's have with people skipping to the end of the book and reading the ending. He suggests that a solution to this would be to print a series of blank pages at the end, but then the reader would turn through the blank pages and find the last one with text on it. So he says to print gibberish throughout those blank pages, again a human would be smart enough to find the end of the gibberish and read there. He finally suggests that authors need to write many pages more of text than the book requires just fooling the reader into having to read the entire book. Perhaps Hofstadter employs this technique.
   GEB is in itself a strange loop. It talks about the interconnectedness of things always getting more and more in depth about the topic at hand. However you are frequently brought back to the same point, similarly to Escher's paintings, Bach's rising canon, and Gödel's Incompleteness theorem. A book, which is filled with puzzles and riddles for the reader to find and answer, GEB, is a magnificently captivating book.



4. As far as the layout and design of the book go, I find this piece to be particularly structured in a way that one studying abstract and modern mathematics might find appealing. It gives specific axioms for use with each topic and in doing so defines more than just what the topic might imply. As the content goes, for those taking an introduction course in abstract algebra, this book may be slightly heavy and unwieldy, however, for those well-learned in some of its background material, this book is enjoyable and pleasurable to read. The author even makes use of antecdotes to enforce his topics. Overall, this book has been one of the most pleasurable assigned readings I have endured.



5. It is quite likely that the hardest question I've ever been asked is, "What's that book about?" This book manages to discuss, coherently, cohesively, and interestingly, everything from molecular biology to quantum physics to computer science to music theory to philosophy to advanced mathematics to Elizabethan literature and beyond. Reading this will definitely change the way you see the world, and if you read one book this entire year, this should probably be it. VERY highly recommended.

5 comments about Godel, Escher, Bach.

1. After studying Douglas R. Hofstader's brilliant book, I discovered an error in the proof of Godel's first incompleteness theorem that invalidates the proof. The same error is in Newman & Nagel's book Godel's Proof.
   The error occurs on page 447. The incorrect statement is, "a' is the arithmoquinification of u." The statement should read: a' is the arithmoquinification of the numeric value of the Godel number u. The term u represents the Godel number of a specific formula, and the word arithmoquinification is a portmanteau word coined by the author.
   Godel's theorem is derived by arithmoquining a formula that Hofstader calls the "uncle" formula. On page 447, he writes,"Now all we need to do
   is-arithmoquine this very uncle! What this entails is 'booting out' all the free variables-of which there is only one,namely a"-and putting in the
   numeral for u everywhere. This gives us: ~Ea:Ea': where the number of S's equals the numeral for u." That is Hofstader's version of Godel's theorem or G. On page 447
   he offers this interpretation of the theorem,"There do not exist numbers a
   & a' that both(1)they form a TNT-proof-pair, and(2)a' is the arithmoquinification of u." But,as I have pointed out Godel's theorem does
   not declare part(2)of his interpretation. Instead, the correct interpretation of part(2)is, a' is the arithmoquinification of the numeral of the Godel number u. The numeral of the Godel number u cannot be
   arithmoquined because it is not a formula and therefore has neither a Godel number nor a free variable.
   This invalidates the proof because we no longer have a true statement: a'
   is the arithmoquinification of u that cannot be proven. Instead we have a
   false statement that cannot be proven. For more info & essays on this subject,please go to www.jimssciencepage.info



2. I have not completed this book, and I am not sure you can ever say that you are complete with a book of this magnitude, however, it will certainly be a book I will review again and again. If you want to be challenged intellectually, this book would be the ticket. I enjoy a good challenge, and although it isn't a 'fun' read, it is valuable book to have in your personal library if you are interested in a paradigm shift in your reality.



3. I realized after recommending this to a friend that I've never reviewed it. Strange, since it's one of the dozen most important books I've ever read in my nearly half-century on this planet. I first read it over 20 years ago, and continue to refer to its literate and well-crafted pages frequently.
   
   This book is Doug Hofstadter's religion. Since it's so good and so right about so many things, people run off into strange places with Hofstadter's words, sort of like the Bible. GEB (the shorthand name for the book) is, for me, a meta-level examination of what it is to be human. Some people see the shadows of the gods in there. I'm not trying to be melodramatic, nor do I believe I'm overstating the value of this book.
   
   Hofstadter takes the reader along on a Carrollian trip using metaphor and fable. Then he employs pedagogical, practical exercises, and good old-fashion lecture. Rinse and repeat, again and again. When he tells you to get pen and paper, please do it. Take your time with this book. I tried and failed on my first attempt. When I finally settled into it, it took me three months to joyously work my way through it. Take a year if you need it.
   
   Reception, analysis, recursion, reapplication. Hofstadter examines the basic evidences of intelligence, forms sensible, fundamental meta-rules, and builds from there. This book - as others have said - is hard work, like climbing a mountain. But at the end of the endeavor, the view is dazzling.



4. The author complains in the new preface that a vast majority of the reviewers, including those who have rated this book very highly, seem to have no idea of what he has been trying to say. In my opinion, this is a self-indictment that does not leave much for others to say. If the author cannot get his ideas across in 700 pages, perhaps people should not waste their time on him. I have learnt it the hard way: after buying this book, five years ago, on high recommendations of friends, only to find it so boring and confused that I could never go beyond a few pages even though I gave it innumerable attempts.



5. This is one of my favourite book of all time. I first read it twenty years ago as an undergraduate on my computer science degree. The nice thing about getting older, but still remaining young, is that you can go back and revistit master works - and lets make no bones about it, this is a master work. As such, it requires time, effort and mastery of the ideas.
   This is not a book that you can just pick up and read in a couple of days. Of course you can delve into it and loose yourself for a few hours, but to obtain mastery will take serious time and effort. Using Howard Gardener's terminology, Hofstadter synthesises across the domains of music, maths and art. This is no mean feat.
   Buy it, only if you have the time for it. Treasure it, enjot it and love it as much as I do.

2 comments about M.C. Escher: Visions of Symmetry (New Edition).

1. It is most gratifying to note that at large, it is a professor of Mathematics who was inspired to collect the materials and compile this most penetrating study on the works of M. C. Escher. That professor is Dr. Doris Schattschneider and her latest publication "M. C. Escher : Visions of Symmetry" is a life's labour of love at collecting, classifying and indexing the works of M. C. Escher in a single volume. The book opens with a stunning photograph of M. C. Escher and a penetrating one-page foreword by Douglas R. Hofstadter.
   
   Who then is M. C. Escher and what is his global appeal? Maurits Cornelis Escher (1898-1972) was a Dutch graphic and wood-cut artist, who for decades working in isolation, single handedly produced the most haunting, fascinating and intriguing works of tesselation, the kind, the world had not seen before. His obsession with visual patterns built by the intricate interlocking of shapes that repeat and repeat forever, filling every crack in the regular plane, made it almost into a visual poetry. What is remarkable is that an artist single handedly learned by himself, the mathematical laws of the plane symmetry group including all it's isometries (i.e. translations, rotations, reflections and glide reflections) as he produced year after year patterns with interlocking shapes of unmatched beauty and provocation. He saw symmetry and beauty where others saw only a senseless repetiton. One can spend hours describing the various feelings brought out by a single image, suffice to say it would require a multi volume encyclopedia to describe in detail all that is collected in this single tome. I am flabbergasted that this book sells on the internet for as low as US $11.00. It is worth it's weight in precious diamonds. Thanks a million Doris, for doing such amicable justice to a great artist, and for providing us such a timeless treasure.



2. Make no mistake. This isn't a comprehensive book for the Escher fan who wants to look at all his pretty pictures. It is a highly academic (no problem there, unless you're looking for, like I said, pretty pictures) book that focuses on basic patterns. It doesn't have many of the drawings that introduced me to his work in the first place. It's not the coffee-table book I was looking for, but that's my problem. It does have volumes of text for the so-inclined.

5 comments about M. C. Escher.

1. Just as the title suggests this book contains The Graphic Work of M.C. Escher. In the beginning of the book there are short descriptional insights about each of the pieces. The rest is filled with Eschers work. If you're an artist and need inspiration or like Eschers work this is a great book. Out of about 90 pages, 70 contain full page prints of Eschers work.



2. M.C. Escher is one of those artists that editors and art critics can't help but spew nonsense about. Taschen's collection of Escher's work is remarkably sparse on editorializing and allows the works to do what they have always done best: draw the viewer into the magical and hypnotic realm of M.C. Escher. The prints are extremely crisp and thoughtfully arranged, unlike other collections that throw works together in a hodge-podge fashion.

   No other artist of the 20th century has had such wide approval and acclaim as M.C. Escher, and this slim volume perfectly expresses why that is so without resorting to pages upon pages of discussions on deconstruction, reality vs. illusion or image vs. icon, and all the other blah-blah-blah that you'll find in other collections. This collection just allows you to turn the pages and enjoy, which I did and you will too.




3. Many words come to mind when attempting to describe the work of Dutch artist M.C Escher: surreal, haunting, mysterious, dream-like.
   Escher is best known for his exploration of the boundaries between art and reality ("Drawing Hands", "Reptiles", "Print Gallery"), and for his distortion of everday objects and mathematical experimentation with geometric shapes, patterns and perspectives (too many of his paintings to number). His best and most characteristic works, including "Depth" (1955), "Stars" (1948), and (naturally), "Other World" (1946) are highly imaginative, creating a fantastic and indescribable dream-universe all their own, one which must ultimately be experienced in order to be fully appreciated.



4. I thought I was buying a wall calendar, and instead received this engagement book. However, it is a very nice item. It is spiral bound, with sturdy, cardboard type pages. It contains both weekly pages and monthly pages. The monthly pages have squares too small to write anything in except a word or two. The weekly pages have enough room to write down projects, assignments or reminders. I am not educated in art - the only thing I know of M.C. Escher is optical illusions, but this book contains drawings, wood engravings, watercolors, etc. The pictures are spectacular and Escher has a new fan. I bought this as a gift, and thought of returning it, but I think the teen artist I bought it for will like it more than a wall calendar.



5. After viewing a display of Esher's art we wanted more information about him and his work. This book was perfect! It included so much of his work and his own thoughts about the creations. It is a good quality paperback book at a great price!

4 comments about M.C. Escher : 29 Master prints.

1. This is a great "coffee table" picture book - full page prints of 29 of M.C. Escher's works. Not much text. The main drawback is that it is a paperback, so you can't use it too well as a "lap table" for other projects. And hey, the price is right, now! Just under 15 bucks, wow! We got our copy 15-20 years ago when the price was quite a bit higher! You can count on Amazon.Com to deliver it fast and cheap. Great book...



2. Nearly everyone will have seen some of the work of Dutch graphic artist Maurits Cornelis Escher (1898-1970). His woodcuts and lithographs are largely based in mathematics and geometry, and provide endless fascination. Many of the two dimensional images Escher created simply could not exist in the three dimenional world, yet on paper they LOOK entirely plausible at first glance (for instance, "Ascending and Descending" and "Belvedere"), and this alone gives the mind of the viewer plenty to ponder. Escher also incorporated tessellations - images composed of repeating, interlocking shapes - into many of his pieces (such as in "Reptiles" or "Fish"), and he played with the idea of having different figures in the same composition existing on different planes, despite sharing the same space. For instance, a surface which is the floor for one figure may be a wall for another (see "Relativity").
   
   This particular book is a very nice collection of some of Escher's most well-known pieces, and is very afordable. There are certainly more detailed books on Escher's life and work available, such as J.L. Locker's 200-page "The Magic of M.C. Escher," but "29 Master Prints" is a great alternative for those who simply want something visually stimulating to put on their coffee table, without too much text. Each print covers a full page (and these are large pages - approximately 14.5 x 10.5 inches), and is accompanied by a small amount of text on the facing page, giving the piece's title, date of completion, medium, dimensions, and a short blurb offering insights about the print, written by either Escher himself or one of several other authors. The explanations written by the artist are often delightfully witty. At the beginning of the book there is a short essay by Escher, "On Being a Graphic Artist."
   
   One disappointment I found was that the print of "Metamorphosis III" is broken up into pieces to fit it all on one page, so you can't see it end-to-end. I would rather have seen this done as some sort of fold-out. Also, unfortunately, this book does not appear to be available in hardcover, so it is slightly less durable. Nevertheless, I would certainly recommend "29 Master Prints" to any fan of Escher's work.
   
   Following is a list of the particular twenty-nine prints included:
   
   "Rind" - on front cover
   "Other World"
   "Smaller and Smaller"
   "Circle Limit III"
   "Knots"
   "Hand with Reflecting Sphere (Self-Portrait in Spherical Mirror)"
   "Balcony"
   "Circle Limit IV (Heaven and Hell)"
   "Ascending and Descending"
   "Day and Night"
   "Regular Division of the Plane III"
   "Sky and Water I"
   "Cycle"
   "Metamorphosis III"
   "Belvedere"
   "Reptiles"
   "Relativity"
   "Fish" - 1942 woodcut
   "Mobius Strip II (Red Ants)"
   "Snakes"
   "Fish" - 1941 woodcut
   "Drawing Hands"
   "Three Spheres I"
   "Stars"
   "Waterfall"
   "Double Planetoid (Double Planet)"
   "Dream (Mantis Religiosa)"
   "Concentric Rinds (Concentric Space Filling / Regular Sphere Division)"
   "Dragon"



3. This book is excellent. I used it in a college level art project and it helped a lot. The pictures are big and the detail is wonderful. Plus since it is written by Escher, the comments are great for understanding the contextualist side of each of his works. I would recommend this book to anyone.



4. This book is ammazing just as I expected and arrived on time. Though it was a little overpriced.

5 comments about M.C. Escher: His Life and Complete Graphic Work (With a Fully Illustrated Catalogue).

1. I haven't even had a chance to go through all of this remarkable book yet, but I am so impressed with it so far I cannot burble enough about how delighted I am with my purchase. This is a beautifully produced, designed, and wonderfully complete book. Many tales of the personal life an vision of the artist, countless, cleanly reproduced graphics, many works I have never seen or heard of before. Terrific! Can't recommend enough!!!



2. Definitely the first book every Escher fan should purchase. It's helpful in getting to know about the man himself as well as his brilliant artwork. It may seem pricey, but it's totally worth it, being hardcover (at least the one I got), and high quality photos of his work. It also shows his lesser known works (ones never released apparently), as well as photos of himself and his family. A very informative read and a quality edition.



3. And c'mon - if you've seen his work, you're a fan.
   
   The great thing about this book is not just the extensive and readable biography, but the complete (so they say) catalog of his graphic works. Even people very familiar with Escher's ouvre will be surprised by some of the entries here. They go back to work he did at ages 18 and 19, and show the devleopment of the Escher that has become so famous. It's just a little disappointing that the catalog is printed only in black and white, when so many of his works used color. The catalog reproductions are just that - a listing of his work, not a gallery, so the quarter-page size of most pieces is adequate for recognizing a piece, if not for appreciating it fully.
   
   It is fascinating to see Escher's style develop though his (and the twentieth century's) twenties. Various influences early on suggest Beardsley (cat. 49, 67), Picasso (cat. 51, 58), or the pervasive Art Deco of his time (cat.34). Even then, some of Escher's later fascinations begin to emerge, including hands and reflective balls (cat. 88 and 80), symmetries and tilings (cat. 61, 65), and complex interactions of many figures in a repeating structure (cat. 90). The lesser-known parts of his work also start to emerge by the time he's 30, including delicate lithographs (cat. 129, 132). As much as I love his visual paradoxes and flirtation with the infinite, the lithos and mezzotints are the pieces that truly move me. "Snow" and "Blowball" (cat. 278 and 330) have an eloquent simplicity. "Eye" and "Drop" (cat. 344 and 356) demonstrate his classical sense and his perseverance with the demanding medium of mezzotint.
   
   The text is also thorough and enjoyable - a good thing, since it takes up half of this heavy book, including its own set of illustrations. I admit that I have only skipped around this section, which starts by describing Escher's father. It's small wonder that his father was an engineer and that his son Arthur studied geology. Although an artist to the core, Escher had fruitful contact with mathematicians and crystallographers. He is one of very few artists that have successfully incorporated hard science into their artistic vision at such a visceral level, and the scientists appreciated that as much as anyone.
   
   Although out of print, this book is available inexpensively on the used market. It's one of the best bargains around; if you've read this far, you'll probably find it well worth having.
   
   //wiredweird



4. I love everything Escher. I have several books, numerous calendars, as well as large jigsaw puzzles, T-shirts, magnets and mini jigsaw puzzles. Because of the detail in this book, I will never need to add another book to my collection. I especially appreciate the explanations. I am nowhere near smart enough to figure out what Escher was doing in each of his artworks. The detailed lesson on what each piece means is much appreciated by an art fan who is not an art scholar. I think this book would be great for any Escher fan, but I feel the need to tell you it is very large. Make sure you have room for it.



5. This is a major compilation of the work of the intriguing graphic artist, M. C. Escher. Remember seeing depictions of events that seem plausible but, under closer analysis, involve impossibilities? That describes some of Escher's most interesting works.
   The book provides just about everything Escher produced (appearing in the "Catalog" section of the book), including his earliest works compiled during his teens. Among the most well known (and fascinating) include "The Waterfall," "Ascending and Descending March," "Convex and Concave," "Liberation," "Synthesis," "House of Stairs," and so on. The catalog section is fun, for one thing, simply to trace the evolution of his art.
   
   But there is more to this volume than the works themselves. The volume provides context, with a brief description of his father's life as well as a more detailed analysis of Escher's life, from his birth in 1898 to his death in 1972.
   
   There is also a most useful chapter labeled "The Vision of a Mathematician" (featuring the thoughts of mathematics teacher Bruno Ernst). It begins by noting two periods in the work of Escher--(page 135): ". . .pre 1935, in which landscapes predominate, and post 1937, which is characterized by a marked mathematical tendency." Ernst describes the mathematical principles in some detail (for those interested in this, a fascinating discussion). The textual portion of the book concludes with an essay by Escher himself on "The Regular Division of the Plane," including his reflections on his art.
   
   This book has been around a while, but it is a valuable backdrop to getting a sense of the art of M. C. Escher.

5 comments about The Magic Mirror of M.C. Escher [25th Anniversary Edition].

1. In The Magic Mirror of M.C. Escher, Bruno Ernst, an acquaintance of Escher's until Escher's death in 1972, presents a thorough summary of the life and work of Escher. Ernst devotes a chapter to the life of Escher, and uses the rest of the book to describe his amazing work. He includes the different themes and styles that Escher used, and devotes a good amount of space to each work discussed. The book is extremely thorough and includes large clear illustrations of the works themselves and also of earlier drafts of the works and mathematical descriptions to assist the reader. This is the most concise book of Escher and his work I have ever seen, and Ernst has done a fabulous job on it.



2. The greatness of this book on the work of M.C. Escher is that it shows how he worked up his ideas for various pieces. It also gives a thorough explanation of his thought and design process. It is truely a shame that this book has gone out of print. I sincerely hope that the publisher brings it back.



3. The work of Escher has captured the imagination of many people and in this book Bruno Ernst (a personal friend of Escher) expands our understanding of the artist. After a brief but concise biography, the author throughly analyses the most important facets of Escher's artistic output: the illusion in drawing, the use of perspective, the creation of impossible realities, simultaneous and contrasting realities, crystals, and the infinite. Escher was an artist who was unique in in his work, he stands by himself, and this book is a helping tool in understanding and appreciating the unparalleled magic of his work.



4. 
   I just picked this book up thinking that there has been a "NEW" book published on M.C.Escher's work.When I got it home ,I checked it against other Escher books and was disappointed to find it is the same book published several times before and by different publishers.
   As you can see the ,publication date of this edition is shown as April 6,2007.Therefore, the reviewers here must have been looking at a previous publication,possibly the one also listed here as a paperback in 1987.The copy I had was even earlier,published by Ballantine in 1976.
   The quality of this Taschen Edition is very good, in fact, superior to the paperback editions I have seen; and will be enjoyed by anyone who likes M.C. Esher's work ;but the material included has not changed.
   I believe this is an excellent book ,and agree with the reviews already written on other editions.
   I guess what we have here is A 25 Year Celebration of its first publication.
   This is an excellent chance to obtain this book and will be enjoyed,particularly by people new to Escher's work.The fact that this edition has now come out speaks volumes about what a great book this was,and it's great to see it available again.



5. Escher's work is so engaging and interesting. Everyone has seen Escher's work, even if they don't know the name. I've used his work to teach math, graphics, and problem solving. My college students love analyzing his work.
   
   I bought this book as a gift, and it was an excellent choice. There are many example works in the book, plus interesting explanations.