The impossible cube or irrational cube is an impossible object invented by M.C. Escher for his print Belvedere . It is a two-dimensional figure that superficially resembles a perspective drawing of a three-dimensional cube, with its features drawn inconsistently from the way they would appear in an actual cube.
In Escher's Belvedere a boy seated at the foot of a building holds an impossible cube. A drawing of the related Necker cube (with its crossings circled) lies at his feet, while the building itself shares some of the same impossible features as the cube. [1] [2]
Other artists than Escher, including Jos De Mey, have also made artworks featuring the impossible cube. [3] A doctored photograph purporting to be of an impossible cube was published in the June 1966 issue of Scientific American , where it was called a "Freemish crate". [4] [5] An impossible cube has also been featured on an Austrian postage stamp. [6]
The impossible cube draws upon the ambiguity present in a Necker cube illustration, in which a cube is drawn with its edges as line segments, and can be interpreted as being in either of two different three-dimensional orientations.
An impossible cube is usually rendered as a Necker cube in which the line segments representing the edges have been replaced by what are apparently solid beams. In Escher's print, the top four joints of the cube, and the upper of the two crossings between its beams, match one of the two interpretations of the Necker cube, while the bottom four joints and the bottom crossing match the other interpretation. Other variations of the impossible cube combine these features in different ways; for instance, the one shown in Escher's painting draws all eight joints according to one interpretation of the Necker cube and both crossings according to the other interpretation.
The apparent solidity of the beams gives the impossible cube greater visual ambiguity than the Necker cube, which is less likely to be perceived as an impossible object. The illusion plays on the human eye's interpretation of two-dimensional pictures as three-dimensional objects. It is possible for three-dimensional objects to have the visual appearance of the impossible cube when seen from certain angles, either by making carefully placed cuts in the supposedly solid beams or by using forced perspective, but human experience with right-angled objects makes the impossible appearance seem more likely than the reality. [4]
Ambiguity is a type of meaning in which a phrase, statement or resolution is not explicitly defined, making several interpretations plausible. A common aspect of ambiguity is uncertainty. It is thus an attribute of any idea or statement whose intended meaning cannot be definitively resolved according to a rule or process with a finite number of steps.
Maurits Cornelis Escher was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. Despite wide popular interest, Escher was for most of his life neglected in the art world, even in his native Netherlands. He was 70 before a retrospective exhibition was held. In the late twentieth century, he became more widely appreciated, and in the twenty-first century he has been celebrated in exhibitions around the world.
The Penrose triangle, also known as the Penrose tribar, the impossible tribar, or the impossible triangle, is a triangular impossible object, an optical illusion consisting of an object which can be depicted in a perspective drawing, but cannot exist as a solid object. It was first created by the Swedish artist Oscar Reutersvärd in 1934. Independently from Reutersvärd, the triangle was devised and popularized in the 1950s by psychiatrist Lionel Penrose and his son, prominent Nobel Prize-winning mathematician Sir Roger Penrose, who described it as "impossibility in its purest form". It is featured prominently in the works of artist M. C. Escher, whose earlier depictions of impossible objects partly inspired it.
An impossible object is a type of optical illusion that consists of a two-dimensional figure which is instantly and naturally understood by the retina as representing a projection of a three-dimensional object.
The Necker cube is an optical illusion that was first published as a Rhomboid in 1832 by Swiss crystallographer Louis Albert Necker. It is a simple wire-frame, two dimensional drawing of a cube with no visual cues as to its orientation, so it can be interpreted to have either the lower-left or the upper-right square as its front side.
A tessellation or tiling is the covering of a surface, often a plane, using one or more geometric shapes, called tiles, with no overlaps and no gaps. In mathematics, tessellation can be generalized to higher dimensions and a variety of geometries.
The Penrose stairs or Penrose steps, also dubbed the impossible staircase, is an impossible object created by Oscar Reutersvärd in 1937 and later independently made popular by Lionel Penrose and his son Roger Penrose. A variation on the Penrose triangle, it is a two-dimensional depiction of a staircase in which the stairs make four 90-degree turns as they ascend or descend yet form a continuous loop, so that a person could climb them forever and never get any higher. This is clearly impossible in three-dimensional Euclidean geometry.
Belvedere is a lithograph print by the Dutch artist M. C. Escher, first printed in May 1958. It shows a plausible-looking belvedere building that is an impossible object, modelled after an impossible cube.
Waterfall is a lithograph by the Dutch artist M. C. Escher, first printed in October 1961. It shows a perpetual motion machine where water from the base of a waterfall appears to run downhill along the water path before reaching the top of the waterfall.
Ambiguous images or reversible figures are visual forms which create ambiguity by exploiting graphical similarities and other properties of visual system interpretation between two or more distinct image forms. These are famous for inducing the phenomenon of multistable perception. Multistable perception is the occurrence of an image being able to provide multiple, although stable, perceptions.
In geometry, the rhombille tiling, also known as tumbling blocks, reversible cubes, or the dice lattice, is a tessellation of identical 60° rhombi on the Euclidean plane. Each rhombus has two 60° and two 120° angles; rhombi with this shape are sometimes also called diamonds. Sets of three rhombi meet at their 120° angles, and sets of six rhombi meet at their 60° angles.
Ascending and Descending is a lithograph print by the Dutch artist M. C. Escher first printed in March 1960.
There are numerous references to Dutch painter M.C. Escher in popular culture.
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.
Jos De Mey was a Flemish-Belgian painter. He is primarily known for depictions of impossible objects in a photo-realistic style, with acrylic paintings constituting the majority of his work. He frequently depicted characters of other artists – notably Magritte, M. C. Escher, and Bruegel.
Still Life with Mirror is a lithograph by the Dutch artist M. C. Escher which was created in 1934. The reflection of the mirror mingles together two completely unrelated spaces and introduces the outside world of the small town narrow street in Abruzzi, Villalago, into internal world of the bedroom. This work of Escher is closely related to his later application of mirror effect in 1937 Still Life and Street. Escher manipulates the scale in different parts of the print to achieve the effect of smooth connection between worlds.
Circle Limit III is a woodcut made in 1959 by Dutch artist M. C. Escher, in which "strings of fish shoot up like rockets from infinitely far away" and then "fall back again whence they came".
Doris J. Schattschneider is an American mathematician, a retired professor of mathematics at Moravian College. She is known for writing about tessellations and about the art of M. C. Escher, for helping Martin Gardner validate and popularize the pentagon tiling discoveries of amateur mathematician Marjorie Rice, and for co-directing with Eugene Klotz the project that developed The Geometer's Sketchpad.
Dragon is a wood engraving print created by Dutch artist M. C. Escher in April 1952, depicting a folded paper dragon perched on a pile of crystals. It is part of a sequence of images by Escher depicting objects of ambiguous dimension, including also Three Spheres I, Doric Columns, Drawing Hands and Print Gallery.
Double Planetoid is a wood engraving print by the Dutch artist M. C. Escher, first printed in 1949.