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The letters of Wolfgang Amadeus Mozart, musical genius, to such recipients as friends, colleagues, prospective clients, and family exhibit occasions where one can interpret the composer’s character and ability to relate to others. From his letters, Mozart appears to embody the common idea of the struggling artist who is always lacking funds and time.

The work oriented and driven Mozart was portrayed in a letter addressed to Sebastian Winter, Royal Groom-of-the-Chambers. In this specific letter, Wolfgang thanks profusely for the Prince’s generosity, but also divulges his desire to provide his Highness with “certain orchestrated pieces,… If his Highness would be so gracious as to commission [him], year by year” (229). Mozart is also revealed to be very busy and consumed with his work, as well as a “starving” artist, when he writes to such friends as Anton Klein and Michael Puchberg. In his writing to Klein, Mozart apologizes for his late reply. He exclaims, “my hands are so full of affairs that I can find scarce a minute for myself” (227). When addressing his friend Puchberg, Mozart shows his business ambition and financial shortcomings when he asks Puchberg for money. He apologizes for this but assures he will repay this loan with interest. To confirm his honesty Mozart states, “whoever, lends to me is, secure enough by reason of my character and my salary” (239). He finds himself to be a trustworthy friend.

In his letters to his wife and friend Michael Puchberg, Mozart also reveals a caring and very grateful side. Mozart misses his wife dearly for when he looks upon her portrait he weeps for sorrow and joy. He also expresses concern in light of her health. He proclaims, “look after your precious health, which means so much to me” (240). He also shows unease for his wife’s respect and conduct. In his letters to Puchberg, Mozart also shows his regret and “torment” (243) in asking for more funds. Mozart explains his misfortune in being ill and thus must “beg so shamelessly” (244) for money. However, he professes his thankfulness and assures the good of his friend’s generosity will outweigh the bad.

Also apparent in his letters to his wife is Mozart’s joking and playful nature. When addressing his wife, he uses the pet name “little wife” (241) in his enthusiasm to finally be able to see her again after such a long period apart. He professes how he thinks of her often and admits to conversing with her portrait. When talking to his wife’s picture, Mozart uses such antics and phrases as “Good day, little rogue! pussy-wussy! saucy on! – good-for-nothing!-dainty morsel!” (241).

Mozart’s various letters reveal his character as an eventful businessman, thankful friend, and loving husband. Despite his struggle to obtain money and to find suitable work opportunities, Mozart remained a humble and thankful musical prodigy.

Chris Summary

Chapter 3 of Alice Elizabeth Chase’s Looking at Art begins by describing a view from a great height. When we observe scenery we realize that nearby objects are big and clear, their colors appear brighter. On the other hand, objects that are farther away seem smaller and blurrier. If you were to take photo with a camera it would register exactly how that image looks at that moment. However, an artist’s job is much more difficult for he/she cannot present everything in the vast expanse of their field of view. Therefore, they must learn to confine their view and project it onto a limited space. This means focusing on a smaller part of the whole to avoid the risk of making the painting too small. An artist’s job is not to merely replicate but to create his own image. They must not illustrate how a camera would see the view but how he/she sees the view. This involves accentuating certain aspects through the use of different shading, lighting, or artistic style. Rarely did artists portray a scene, as the naked eye would observe it. For example, ancient Egyptians had a “map-like” style in which they omitted details and focused more on the location of the objects. Setting was also a very important factor for some artists like the Greeks who preferred the use of trees and rock when painting people. However, the ancient Romans preferred a more gaudy setting. They didn’t really leave much to the imagination when they painted war heroes with banners in the cities they had conquered.

In Chapter 4, Chase depicts a photographer who is taking a photo of people in action. She describes the difficulty of the situation due to the imperfect nature of objects in motion from a single perspective. Often when you take a picture of multiple subjects in motion their bodies will overlap and the picture may appear cramped. You can try to stage it and plan everyone’s location but more often than not it will appear staged and awkward. Throughout history, artists have tried to develop techniques to combat this flaw and have had some success with it. For example, the ancient Egyptians did not really care much for depth and focused only on showing the entire body of the subjects. However, as time went on people sought more effective means of accurately portraying what they saw.

The Crucifixion

Crucifixion

Alas, Is this really the end?

Betrayed by own men

Despite everything I have done, they have turned their backs to me

I know I mustn’t fail my father, I know I mustn’t flee

In the end this is the way I knew that it would go

I have done what I was meant to do but what more do I have to show?

Arms are spread apart and my legs are crossed together

Prepared to let go of this life and my spiritual tether

As I hang here in agony, my breath leaving rapidly

Father, oh father, why have you forsaken me?