Calanche of Piana, Corsica (February 1934) 1934

Editor: So, here we have Escher’s woodcut, "Calanche of Piana, Corsica," from 1934. It’s all craggy rocks and dramatic contrasts. Honestly, it makes me feel a little claustrophobic, like the rocks are closing in. What's your take? Curator: Claustrophobic, you say? That's interesting! I feel a kind of exhilarating tension myself, looking at this piece. Imagine Escher there, breathing in the salty air, squinting at the sun as he carves into that wood. Each line, a reflection of the very light hitting the rocks. See how the textures shift, how the sky becomes a series of vertical lines, almost mimicking rainfall, against the swirling stone? He isn't just depicting Corsica; he’s giving us the feeling *of* Corsica. Does that shift your perspective at all? Editor: I can see that now – the sky isn’t just blank space, it's *active*, pressing down almost. I was so focused on the shapes themselves. The textures definitely have a language all their own. Curator: Exactly! He's abstracting, not copying. It's less about visual accuracy and more about capturing the essence, the emotional weight of the landscape. He makes you work for the image; it demands attention! So, what will you think about when you look at another print now? Editor: Definitely the artist's process and what they want me to feel, not just what they want me to see! Curator: And that, my friend, is the first step on a long and winding, beautiful road!