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Statements

Subject Item
dbr:Cube_with_Magic_Ribbons
rdf:type
yago:WikicatWorksByM.C.Escher yago:Object100002684 yago:Artifact100021939 yago:Painting103876519 yago:Oeuvre103841417 schema:CreativeWork wikidata:Q386724 yago:Product104007894 yago:EndProduct103287178 yago:Wikicat1957Paintings yago:Art102743547 dbo:Work yago:PhysicalEntity100001930 yago:GraphicArt103453809 yago:Whole100003553 dbo:Artwork owl:Thing yago:Creation103129123
rdfs:label
Cube with Magic Ribbons
rdfs:comment
Cube with Magic Ribbons is a lithograph print by the Dutch artist M. C. Escher first printed in 1957. It depicts two interlocking bands wrapped around the frame of a Necker cube. The bands have what Escher called small "nodules" or "buttonlike protuberances" that make use of the dome/crater illusion, an optical illusion characterized by shifting perception of depth from concave to convex depending on direction of light and shadow. Escher's interest in reversible perspectives, as seen in Cube with Magic Ribbons, can also be noted in an earlier work, Convex and Concave, first printed in 1955.
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Cube with Magic Ribbons
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dbc:Works_by_M._C._Escher dbc:1957_prints dbc:Impossible_objects
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31
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dbr:M._C._Escher
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Cube_with_Magic_Ribbons.jpg
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cm
dbp:title
Cube with Magic Ribbons
dbp:type
dbr:Lithograph
dbp:year
1957
dbo:abstract
Cube with Magic Ribbons is a lithograph print by the Dutch artist M. C. Escher first printed in 1957. It depicts two interlocking bands wrapped around the frame of a Necker cube. The bands have what Escher called small "nodules" or "buttonlike protuberances" that make use of the dome/crater illusion, an optical illusion characterized by shifting perception of depth from concave to convex depending on direction of light and shadow. Escher's interest in reversible perspectives, as seen in Cube with Magic Ribbons, can also be noted in an earlier work, Convex and Concave, first printed in 1955. Although the cube framework in Cube with Magic Ribbons by itself is perfectly possible, the interlocking of the "magical" bands within it is impossible. Escher scholar Bruno Ernst argues that this print is significant for being the first of four Escher drawings to use impossible object. However, there is debate as to whether the figure constitutes a true visual impossibility or is merely ambiguous, as the bands do not have continuous contours that unite their front and back faces, meaning they lose their visible boundaries when they cross over each other.
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