Escher Museum, Hague, Netherlands

The Escher Museum (Escher in the Palace) is a museum featuring the works of the Dutch graphical artist M. C. Escher. The museum is housed in a former palace Lange Voorhout Palace dating from the 18th century. Queen Emma (Emma of Waldeck Pyrmont) bought the stately house in 1896. She used it as a winter palace from March 1901 till her death in March 1934. Four Dutch Queens used the palace for their business offices, till Queen Beatrix moved the office to Paleis Noordeinde, about 10 minutes walk from Escher in Het Paleis. In all the former 'Royal Rooms' first and second floor there are window shades with information about the interior in Emma's time. There are two rooms dedicated to Emma's period and often there are photo enlargements or other information about Queen Mother Emma on display besides the never-ending Escher exhibition.

The museum features a permanent display of a large number of woodcuts and lithographs by Escher, among them the world famous prints Air and Water, Belvedere and Waterfall. Escher in Het Paleis shows the early lovely Italian landscapes, the many mirror prints and a choice from the tesselation drawings, further the three versions of the Metamorphosis, from the first small one to the third of 7 meters. This one is shown in a circle. It underlines the new vision of the museum on the work of M.C. Escher.

The third floor of the museum is dedicated to the Optical Illusion, besides the famous Escher Room in which grownups seem to be smaller than their children one's eyes will be tricked by multiple interactive dispays.

In the rooms of the museum are fifteen chandeliers made by the Rotterdam artist Hans van Bentem. The artist designed these especially for the museum, with some references to the work of Escher and the Palace. In the ballroom, a star chandelier is endlessly reflected in the two mirrors. In other rooms there are chandeliers such as a shark, a skull, spiders, and a sea horse.

References:

Wikipedia

Museums in Netherlands

User Reviews

Maureen Reene (2 years ago)
Excellent! Well worth a visit, we arrived at 4 with only one hour left before closing. Would have loved longer. Fantastic exhibit of this talented man's journey. Hands on activities on 3rd floor.

Irontallica Forever (2 years ago)
Amazing museum of an amazing man. Escher made extraordinary art that you have to look twice, sometimes thrice at to really see what's going on. Great museum for a quiet trip, although it's not a big one. You can spend about 3h here and then you'll have seen it all. The 3rd floor is nice to try things yourself. Not really a great museum for kids under 10 as sometimes you'd really have to understand it. There's also a few rooms with information about the palace itself

Bouke Groenescheij (2 years ago)
Very nice museum. It's an old Palace, nearby great streets in The Hague. Escher was an amazing artist and because of that the exhibition is not boring and fun for kids too! Highly recommend.

Malcolm Snelgrove (2 years ago)
Great to learn about Escher's early life, works and how he came to view the world and his art. The history of the Queen's mothers palace is also explained, and there is a puzzle hunt for kids. The top floor however is the real favourite for kids and adults alike with visual illusions and modern artists work in different media.

Philippe Veraart (3 years ago)
Very interesting to see his early work and how he started out and the link to his personal life. Pity some of his more famous works aren't on display, but still worth a visit. As an added bonus top floors houses interesting scientific exhibition showing mathematical principles and concepts of his work.

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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.

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