Sundial Xxiv Emblemata Rejected Plate

M.C. Escher’s Rejected Plate: Where Geometry Meets the Grotesque

Few works from M.C. Escher’s early period reveal his fascination with paradox and transformation as vividly as Sundial XXIV Emblemata Rejected Plate (1931). Created during his Italian sojourn—a phase often overshadowed by his later impossible constructions—this woodcut distills Escher’s preoccupation with the interplay between organic decay and rigid structure. The central sundial, rendered with almost clinical precision, is flanked by two grotesque figures: a skeletal death wielding an hourglass and a winged, serpent-tailed hybrid. Their presence transforms what might have been a straightforward emblem into a meditation on time’s inevitability, a theme Escher would revisit in more abstract forms throughout his career.

The work’s title hints at its origin as a rejected design for the Emblemata series, a collection of allegorical prints commissioned by the Dutch publisher A.A.M. Stols. As the Museum of Modern Art notes in its overview of Escher’s graphic work, these early commissions forced the artist to reconcile his meticulous draftsmanship with the symbolic demands of emblem tradition. Here, the contrast between the sundial’s geometric clarity and the figures’ writhing forms foreshadows Escher’s later explorations of tessellation and perceptual ambiguity. The rejected status of the plate only heightens its intrigue: it stands as a rare glimpse into Escher’s process, where technical mastery clashes with unruly imagination.

Escher in Italy: From Landscape to Allegory

The years M.C. Escher spent in Italy (1922–1935) marked a turning point in his artistic development. While he initially gained recognition for his precise renderings of Italian hill towns and coastal scenes, works like Sundial XXIV reveal his growing discontent with pure representation. The Emblemata series, conceived during this period, allowed him to channel his interest in allegory and moral symbolism—a departure from the topographical studies that had defined his early commercial success. As the Tate observes, Escher’s Italian decade was less about documenting places than about distilling their underlying geometric order, a pursuit that would later evolve into his signature impossible architectures.

This rejected plate occupies a liminal space in his oeuvre. Unlike the architectural fantasies of his maturity, it grounds its surreal elements in a tangible object: the sundial, a motif Escher encountered frequently in Italian giardini segreto. Yet the inclusion of the skeletal figure—reminiscent of medieval memento mori—and the hybrid creature, with its bat-like wings and reptilian tail, signals his shift toward the oneiric. The woodcut’s rejection by Stols may have stemmed from its unsettling tone, but it is precisely this tension between beauty and unease that makes the work compelling.

Escher’s Sundial XXIV is a palimpsest of influences: the emblem books of the Renaissance, the grotesques of Arcimboldo, and the metaphysical stillness of de Chirico’s piazzas. What sets it apart is its refusal to resolve—neither purely decorative nor didactic, it hovers between ornament and warning.

The Woodcut as a Medium of Contradiction

Composition: Symmetry and Subversion

The plate’s composition hinges on a vertical axis, with the sundial acting as the fulcrum. Escher employs a mirrored arrangement: the skeletal figure on the left balances the hybrid creature on the right, while the sundial’s gnomon divides the scene like a blade. This symmetry, however, is undermined by the figures’ dynamic poses—the death figure leans inward, as if drawn to the sundial’s shadow, while the hybrid recoils. The effect is one of controlled instability, a visual metaphor for time’s dual nature as both measure and destroyer.

Texture and Tone: The Language of Woodcut

Escher’s choice of woodcut—a medium known for its bold contrasts—amplifies the work’s thematic dualities. The sundial’s surface is rendered with fine parallel lines, creating a luminous, almost metallic sheen, while the figures are defined by deeper, more erratic cuts that swallow light. This interplay of texture guides the viewer’s eye: the smoothness of the dial invites scrutiny, while the rough-hewn figures repel it. The resulting tension between attraction and repulsion is central to the print’s power, a technique Escher would later refine in his lithographs of the 1940s.

Displaying Escher’s Allegory: A Curator’s Approach

This print’s high-contrast palette and intricate detailing demand careful placement. The 30×40 cm (12×16") dimensions make it ideal for a study, library, or hallway where its allegorical depth can be contemplated. Pair it with deep wall colors—charcoal gray, oxidized green, or even a bold terracotta—to accentuate the woodcut’s dramatic lighting. Avoid overly bright spaces, which may dilute the interplay of shadow and line that defines the composition. For a thematic grouping, consider flanking it with other Escher works from his Italian period, such as Nocturnal Rome or Scilla, Calabria, to trace the evolution of his symbolic language.

Frequently Asked Questions

More Works by MC Escher

Explore the evolution of Escher’s vision through these framed prints, each capturing a distinct phase of his career—from Italian landscapes to metaphysical puzzles.

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