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A simple observation, that a work of art
is not the literal equivalent of the subject
it portrays, has been long been known to
photographers as well as artists in other
types of media. Since the days of the
Renaissance, painters such as Leonardo
da Vinci have known that perspective
rendering is an optical trick. Many of the
best creations of M. C. Escher exploit the
visual confusion between three-dimensional
reality and the way this reality is portrayed
on a fl at surface.