![]() I wish you all the best since I appreciate your uploads. ![]() I don't like the facts (as I understand them), do with this information as you want. ![]() the copyright owner selects a license that allows your use (creative commons, GPL, other kind of "open source like" license)įrom my side this is all I can say.you got it from the copyright holder (might mean that you need to pay them, or they just like your smile and give it for free).the copyright holder put it in the public domain (e.g.Bram Stokers Dracula, guy is dead long enough) the license to print the pegasus shape on cups or shirts). We don't know if the art is "licensed" (for sure some people somewhere have e.g. IDK exactly how the Escher guys would try to enforce their rights, but my guess is that this would be successful anywhere in the US or EU.Īnd made sure not to use any licensed art in the listing. Sure, but I don't see a reason why this would be a special case really.Ĭopyright enforcement is regional. This is most likely true for simple things like a heart or a square, we are talking about a very special shape here. ISBN 0-8109-6720-0.First: I'm not a big fan of the email that you received, and I would prefer things to be differently, but I think you are wrong.īut I have heard a few things like shapes aren't protected for basic reasons. For Metamorphosis III, Escher expanded the middle of Metamorphosis II to include several other elements, leaving its ends (which included the Atrani-chess dyad) unchanged. However, the town-and-chess position were identical in both pieces. The latter was a greatly expanded version of the former, which Escher executed near the end of his life. The Atrani-chess dyad shown in Metamorphosis II was used again in Metamorphosis III. However, he also noted that the position had never drawn any criticism, an indication of its status as a simple but well-formed problem. In correspondence with his son George, Escher expressed concern as to the reasonableness of the position shown in his Metamorphoses. Further, the black knight simultaneously attacks White's king and queen in the final position, thus delivering a royal fork.Įscher was an amateur player, participating in chess club play throughout his life. When mate is given, it is a smothered mate, in which the mated king is unable to move because surrounded by friendly pieces. Black has played a queen sacrifice in order to secure mate following White's forced move. This implied sequence-and its attendant final position-illustrate several chess concepts. Rxg1, Black has exactly one checking move, which is mate: 1. The white king cannot capture the black queen, because it would then be attacked by the black bishop standing on b6, thus remaining in check. ![]() White has exactly one legal move, which is therefore forced: another white rook, standing on the square f1, must capture the black queen standing on g1. The chessboard is shown in full, with a legal position -because White is in check, White manifestly has the move. In Metamorphosis II, a structure jutting from Atrani's coastline becomes a white rook on a chessboard. Toward its right-hand side, the artwork depicts the coastline of Atrani, a small Italian village which Escher had rendered during his earlier career Escher revisited the image of Atrani several times over the course of his life. Nf2#.Īmong other motifs, Metamorphosis II depicts an Italian village known to Escher, as well as a legible chess composition. Rxg1, after which Black can win by playing 1. White is in check, and therefore White has the move. The chessboard leads to a checkered wall, which then returns to the word metamorphose. There are other chess pieces in the water and the water becomes a chessboard. Atrani is linked by a bridge to a tower in the water, which is simultaneously a rook standing on a chessboard. These blocks then become the architecture of the Italian coastal town of Atrani. This grid then becomes a black and white checkered pattern, which then becomes tessellations of reptiles, a honeycomb, insects, fish, birds and a pattern of three-dimensional blocks with red tops. The process begins with the word metamorphose (the Dutch form of the word metamorphosis) in a black rectangle, followed by several smaller metamorphose rectangles forming a grid pattern. Like Metamorphosis I, the concept of the piece is to morph one image into a tessellated pattern and then slowly alter that pattern eventually to become a new image. Metamorphosis II is a long, horizontal piece which depicts animals and other forms gradually transforming into each other. The print measures 19.2 by 389.5 centimetres ( 7 + 1⁄ 2 in × 12 ft 9 + 3⁄ 8 in) and was printed from 20 blocks on 3 combined sheets. It was created between November, 1939 and March, 1940. Metamorphosis II is a woodcut print by the Dutch artist M.
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