M. C. Escher

Vasarely shared Escher's deep interest in geometric optical illusions and mathematically structured compositions that challenge spatial perception. Both artists used precise repetition and pattern to create mind bending effects that blur the boundary between two and three dimensional space.

Riley's Op Art paintings use intricate geometric patterns and high contrast black and white forms to produce striking visual illusions very similar in spirit to Escher's work. Her rigorous mathematical approach to perception and spatial distortion places her work in close conceptual proximity to Escher's graphic art.

De Mey created detailed architectural paintings featuring impossible structures and paradoxical spatial arrangements that closely parallel Escher's famous impossible buildings and staircases. His meticulous draftsmanship and conceptual focus on architectural contradiction make his work among the most stylistically similar to Escher's.

De Mesquita was Escher's printmaking teacher at the School for Architecture and Decorative Arts in Haarlem and taught him the technical foundations of woodcut and other graphic arts. Escher acknowledged de Mesquita as a formative mentor and kept his work close throughout his life.

Termes developed a unique form of spherical perspective painting called Termespheres that explores total environmental space and spatial illusion in ways that cite Escher as a primary inspiration. His systematic geometric approach to all encompassing perspective shares Escher's drive to push the mathematical boundaries of pictorial space.