The Dutch artist M. C. Escher is widely acknowledged as one of the greatest graphic artist of our century. After studies at The Harlem School for Architecture and Decorative Arts in Holland, in 1923 Escher went to live in Italy, where he travelled extensively and took inspiration from Italian landscape and architecture for his drawings, lithos and woodcuts. In 1935 he left Italy and, after a short stay in Switzerland, went back to Holland. Here, no more impressed by the Italian scenery, he turned inwards for inspiration, and started to produce his greatest masterpieces. These were based on his subtle researches on the interplay between background and figure, which he called "Regular division of the plane." Prints like Day and Night (1938), Metamorphose (1939-40) and Reptiles (1943) derive from this research, and also reflect the artist's related idea that life and nature are based on cycles, on periodic repetition. The same concept of this cycle is expressed in the famous litho Drawing Hands (1948), and, in a different manner, in such works as Ascending and Descending (1960), or Waterfall (1961). Here, through the use of cleverly distorted perspective, the artist conveys the idea that motion is meaningless and everything is continuously returning to its starting point. Many of Escher's prints, like Relativity (1953), Bond of Union (1956), Concave and Convex (1955) or Belvedere (1958), are based on the greatest technical skill and a unique capacity to blend exact mathematical concepts with a fantastic and distorted interpretation of visual data. They have become classics, which help us to interpret the complexities of the world we live in. To put in Escher's words: "Whoever wants to portray something that does not exist has to obey certain rules... the same as for the teller of fairy tales: he must produce contrasts, he must cause a shock.' All the prints mentinned are available in nuzzle form a use of his work that Escher would have anoroved of.