Frases de Karl Friedrich Schinkel

Karl Friedrich Schinkel foi um pintor, urbanista e o mais notável arquiteto do neoclassicismo na Prússia.

Schinkel foi aluno, em Berlim, de David Gilly e de seu filho Friedrich Gilly, com quem desenvolveu uma forte amizade. Fez sua primeira viagem à Itália em 1803 e retornou à capital prussiana em 1805, quando começou a trabalhar como pintor.

Após a derrota de Napoleão, Schinkel supervisionou da comissão de construção prussiana, quando foi responsável pela reforma da cidade de Berlim para transformá-la numa capital representativa para a Prússia, além de supervisionar os projetos dos territórios onde ela havia se expandido: Renânia e Königsberg. Foi também o responsável pelo desenho da Cruz de Ferro.

Está sepultado no Dorotheenstädtischer Friedhof em Berlim. Wikipedia  

✵ 13. Março 1781 – 9. Outubro 1841
Karl Friedrich Schinkel photo
Karl Friedrich Schinkel: 2   citações 0   Curtidas

Karl Friedrich Schinkel: Frases em inglês

“I hope I may be allowed to remark that recent inventions and improvements enabling works of art to be duplicated faithfully, easily, and safely may properly be used to give industry a direction in which beauty is as important as utility.”

"Karl Friedrich Schinkel (1781-1841)" (2006) by Margaret Odrowaz Sypniewska http://www.angelfire.com/mi4/polcrt/Schinkel.html
Contexto: I hope I may be allowed to remark that recent inventions and improvements enabling works of art to be duplicated faithfully, easily, and safely may properly be used to give industry a direction in which beauty is as important as utility. I cannot, as many do, regret the mechanical process that turns the artist's attention increasingly towards the intellectual element in the production of a work of art; something that no machinery can replace. Anything that a machine can imitate and duplicate perfectly is no longer in the realm of art. But as a work of art can be mechanically duplicated both faithfully and with ease, and this distributed to all classes of society, if the knowledge of that work need no longer be acquired solely in museums or in those private collections to which access is difficult, then we may hope that here and there one of the seeds thus broadcast will take root and eventually bear fruit.

“Indifference to the fine arts comes close to barbarism.”

As quoted in Nineteenth and Twentieth Century Architecture, Vol. 11 (1976) by Garland Publishing, p. 94; also in The Dictionary of Art, Vol. 28 (1996) by Jane Turner