If you have ever visited or seen pictures of Berlin, Germany, you most likely have seen a building drafted, re-designed or approved by Karl Friedrich Schinkel, Prussian city planner, architect and painter. Born on 13 March 1781 in Neuruppin, Schinkel was one of the most prominent neoclassical and neogothic architects of 19th century Germany and despite his influence and achievements, people still think he had even more potential that he could not live up to due to the political circumstances of his time.
Schinkels most famous extant buildings in and around the German capital include the Neue Wache (1816–1818), the National Monument for the Liberation Wars (1818–1821), the Schauspielhaus (1819–1821) at the Gendarmenmarkt and the Altes Museum on Museum Island (1823–1830). He also carried out improvements to the Crown Prince’s Palace and to Schloss Charlottenburg.
The header to this post shows Schinkel’s stage set for the 1st Act of Mozart’s Magic Flute, dated 1815 just like the above painting, a design that is still quoted by modern-day stage designers when planning the set for this opera. We find his style quite wholesome, a good example of a time when people still had a clear idea of what was good and beautiful, and pleasing in an aesthetic sense, as well as where such ideas originated in the first place.
Schinkel, like so many artists of the 19th century, traveled a lot in Europe and particularly to Italy, the landscape and cities of which were and still are especially inspiring, it seems – just look at Johann Wolfgang von Goethe and his love for Italy, for instance. Of course, Goethe and Schinkel met and respected each other, in fact, the list of names the family Schinkel were acquainted with reads almost like a who-is-who of Germany’s 19th century artistic and royal circles. But returning to the Italian influences, Schinkel’s style, generally speaking, was defined rather by a turn to Greek than Roman architecture. “He believed”, they claim in his Wikipedia entry, “that in order to avoid sterility and have a soul, a building must contain elements of the poetic and the past, and have a discourse with them.” I guess the same kind of discourse between tradition and poetry can be found in his paintings if you are able to discern Nature’s voice in the lay of the land, or the trees that surround Schinkel’s painted buildings.
Karl Friedrich Schinkel died on 9 October 1841 in Berlin, leaving behind his wife Susanne and four children, three girls and a boy, the youngest daughter being 19 years old at the time. He was buried in the Dorotheenstädtischen Friedhof in Berlin-Center, where twenty years later his wife was laid to rest along with their two older daughters.
Eventually, several generations of architects from Berlin who were influenced by Schinkel’s style were classified as the “Schinkelschule“. So, if you ever visit Germany’s capital, keep a look out for building designed or re-designed by Schinkel, or later on built true to Schinkel’s style.