The Dutch printmaker Maurits Cornelis (M.C.) Escher (1898-1972) followed in historical foundational art footsteps. His preoccupation with perspective was like that of the Renaissance; his self-portraits in convex mirrors remind us of Jan van Eyck (c. 1390-1441); the intricate stone topographies of his early oeuvre were in the vein of Andrea Mantegna (1431-1506) and his mesmerizing architectures recall Giovanni Battista Piranesi (1720-78). Escher’s audiences, however, were mostly from outside the art world.

“The Miracle of M.C. Escher: Prints from The Israel Museum, Jerusalem” at the Abeno Harukas Art Museum commemorates the 120th anniversary of the artist’s birth with 152 works. A familial connection to Japan is that Escher’s father, a hydraulic engineer, had worked in Osaka as well as in Mikuni and other areas of Fukui Prefecture between 1873 and 1878.

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