INCIDENT AMSTERDAM PLANE

Engine failure may have been factor in Amsterdam plane crash

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Thursday, February 26, 2009

Disasters and accidents

More articles about disasters and accidents on Wikinews:

• Engine failure may have been factor in Amsterdam plane crash
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Wreckage of the aeroplane.
Image: Radio Nederland Wereldomroep.

According to the chief of the agency investigating the Turkish Airlines aeroplane crash at Amsterdam's Schiphol Airport in the Netherlands yesterday, engine trouble may have been a factor in the accident.

Addressing Dutch state television, chairman of the Dutch Safety Board Pieter van Vollenhoven said that the way the aircraft dropped from the air suggests that the engines may have failed. "If you then lose speed, you then literally fall out of the sky," he said. However, he noted that the reason for the apparent engine failure had not yet been established.

Van Vollenhoven said that the analysis of the aeroplane's flight data recorders could be finished as early as Tuesday, but added that the Dutch Safety Board would most likely not disclose any preliminary findings until next week.

Both jet engines separated from the fuselage.
Image: Radio Nederland Wereldomroep.

Fred Sanders, a spokesman for the board, said that the damage to the aircraft corroborated witness accounts that the plane impacted with the ground tail-down.

"This may indicate that the plane had lost its forward momentum, that there was no motor function," he said, adding that it may be be a long time before a full explanation of the incident is available. "We will have an official finding probably in about a year, but we should be able to give an interim finding within weeks," he said.

Nine people were killed and 86 injured on Wednesday when a Boeing 737-800 with 135 people on board registered to Turkish Airlines crashed just short of the runway in a farmer's field near Schiphol Airport.

Caspar David Friedrich

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Gerhard von Kügelgen, Portrait of Caspar David Friedrich (c. 1810–20)

Caspar David Friedrich (September 5, 1774 – May 7, 1840) was a 19th-century German Romantic landscape painter, generally considered the most important of the movement.^[2] He is best known for his mid-period allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's work characteristically sets the human element in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".^[3]

Friedrich was born in the Swedish Pomeranian town of Greifswald, where he began his studies in art as a youth. Later, he studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".^[4]

Friedrich’s work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape".^[5] However, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip Miller, "half mad".^[6] As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich’s contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, misinterpreted as having a nationalistic aspect.^[7] It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

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