The 2Nd Day Of The Creation

Divine Geometry: The Mathematical Vision of Escher’s Creation

Maurits Cornelis Escher’s The 2Nd Day Of The Creation stands as a testament to the artist’s lifelong fascination with the intersection of mathematics and visual art. Unlike his more widely recognized works featuring impossible architectures or infinite loops, this woodcut dives into the sacred realm of biblical narrative, reimagining the second day of Genesis through Escher’s signature precision. The composition divides the picture plane into rigid geometric zones—spheres, arcs, and radiating lines—each segment meticulously rendered to evoke both celestial order and the unfathomable complexity of divine creation.

Created during a period when Escher was deeply engaged with tessellation and the representation of three-dimensional space on a two-dimensional surface, this work reflects his unique ability to merge spiritual themes with scientific rigor. The circular motifs recall planetary orbits, while the layered, almost architectural forms suggest the separation of the heavens from the waters—a direct reference to Genesis 1:6–8. As The Museum of Modern Art observes in its analysis of Escher’s oeuvre, his works often “transform mathematical concepts into tangible, if paradoxical, visual experiences.” Here, the artist achieves something equally remarkable: a visual sermon on the harmony of faith and reason.

Escher’s Sacred Phase: Between Symbolism and Surrealism

While Escher is often categorized as a Surrealist, his engagement with religious themes in works like The 2Nd Day Of The Creation aligns him more closely with the Symbolist tradition—a movement that sought to express absolute truths through metaphor and suggestion. Unlike Salvador Dalí’s dreamlike distortions or René Magritte’s playful subversions, Escher’s approach to the divine is structural, almost architectural. His creation scenes are less about emotional transcendence than about the intellectual pursuit of order within the cosmos.

This woodcut belongs to a series of biblical illustrations Escher produced in the 1920s and 1930s, a period when he was also experimenting with Italian landscapes and intricate tessellations. The shift from earthly scenes to celestial subjects marked a turning point in his career, one that Tate Modern describes as a “deliberate pivot toward universal themes.” In The 2Nd Day Of The Creation, the absence of human figures focuses attention on the act of creation itself, rendered through the language of geometry—a choice that underscores Escher’s belief in art as a bridge between the tangible and the ineffable.

Escher’s creation prints are not illustrations of scripture but visual proofs of its underlying logic—a logic he found in the repetition of forms and the symmetry of sacred space.

The Precision of Woodcut and the Illusion of Depth

Layered Carving and Textural Contrast

Woodcut, Escher’s preferred medium for much of his early career, demanded a painstaking process of carving away negative space to leave raised lines that would hold ink. In The 2Nd Day Of The Creation, the technique allows for sharp contrasts between the uninked paper (appearing as white) and the dense black of the printed lines. The circular forms at the center of the composition were likely achieved through multiple blocks or successive carvings, a method Escher perfected to create the illusion of depth without relying on traditional perspective.

Geometric Composition and Sacred Geometry

The artwork’s structure adheres to principles of sacred geometry, where circles, arcs, and radiating lines converge to suggest both the microcosm and the macrocosm. The central sphere, divided by horizontal bands, mirrors the biblical separation of waters above and below the firmament. Escher’s use of repeating motifs—such as the small circular forms that resemble celestial bodies—creates a rhythmic visual pulse, reinforcing the theme of divine order emerging from chaos.

Where to Display The 2Nd Day Of The Creation

This print’s monochromatic palette and geometric rigor make it a striking focal point in modern interiors. The 30×40 cm (12×16") size is ideal for placement above a console table in an entryway, where its circular motifs can echo the shape of a round mirror or pendant light. For a more contemplative setting, consider hanging it in a study or library, paired with warm wood tones and muted walls—colors like deep navy, charcoal, or soft gray will allow the intricate linework to stand out. Avoid overly busy patterns in adjacent decor; the artwork’s precision demands simplicity in its surroundings. In a minimalist space, its presence becomes almost architectural, transforming a wall into a meditation on order and creation.

More Works by Mc Escher

Explore the full range of Escher’s genius, from his early Italian landscapes to his mind-bending tessellations and sacred themes.

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