Author Archives: luisfeliciano

Mozart’s Letters

Arts in NYC – Steven Graff

Luis Feliciano

10/1/14

Contrary to popular belief, Mozart was not as successful as we envision him today. Of course today we see him as a classic musician, and because of that we assume he lived a luxurious life. However, as revealed through his letters, we see that he struggled financially fairly often. Additionally, we see that Mozart was very polite, even when he wasn’t asking for money. This is made evident through the many conversations he has with his wife.

To begin with, you can feel Mozart’s kindness right from the beginning of his letters. When writing to a friend, he always begin with, “Dearest Friend!” When writing to his wife, Mozart always begins with a cute little sentiment towards her. Sometimes he’ll open with “Dearest, best little Wife!” or “Dearest, best little wife of my heart!” From the letter openings alone we could tell that Mozart really adored his wife. On the other hand, when writing to Michael Puchberg, the person whom he constantly asks to borrow money from, Mozart always begins with “Dearest, best of Friends!” This is a subtle distinction, but shows that Mozart regards Puchberg as a more important person. However, he could just be using pathos, in order to seal the deal. Finally, Mozart also writes a few letters to people of higher nobility, and refers to them as such. For example, when he wrote to Emperor Leopold 11, he opens the letter with “Your Majesty!”

The most is revealed about Mozart through his letters to Michael Puchberg. He clearly knows and trusts Puchberg very well. Letter 118 is very powerful. It is full with strong uses of pathos, which in turn show that Mozart was once a struggling artist. His opening remark, “My God, I could not wish my worst enemy in my present case!” is very moving. It takes a lot for a man to acknowledge when he is defeated. He struggles to find a job that will pay him enough to not only pay Puchberg back, but to also just live day to day. Mozart is constantly reassuring Puchberg that he will eventually get the money. For example he says, “you know my present circumstances, but you also know my prospects.” Through this letter, we see that Mozart truly feels bad for being in debt to Puchberg, and wants to affirm to him that once he gets through these tough times, he will be able to get the money that he needs.

In that same letter, Mozart goes on speaking about his “poor sick wife.” As revealed in his other letters, Mozart cares very deeply about his wife. Reading all of letters together even makes the reader feel sympathy towards him. Letter 115 shows how much he cares about his wife. He is always busy with work, but still finds small breaks to write to his wife, and it fills his heart. For example, “while the Prince is engaged in bargaining for horses,” Mozart took some time out to write to her. Additionally, he worries for her health, as any other caring husband would, “Look after your precious health, which means so much to me, my dear.” You can feel the anxiousness he feels. He asks many rhetorical questions back to back such as, “How goes it with you?” or “Do you think of me as often as I do of you?” It’s almost like when you talk to your crush. You get fluttered really easily, and all of your thoughts come out with or without your consent.

These letters show how relatable Mozart can be. Sometimes when you imagine a famous musician, it is hard to imagine that they could feel as we do. After reading these letters, I have a much better and more realistic understanding of who Mozart was as a person.

Looking At Art – Arts in NYC

Arts in NYC – Steven Graff

Luis Feliciano

9/17/14

Looking at Art

Art is the expression of human ideas and imagination. The visual arts come in many different forms, such as sculptures or paintings. Looking for Art by Alice Elizabeth Chase tackles different situations that artists have faced since the origins of art. Over time they have crafted special techniques and forms to vividly recreate landscapes and people.

Chapter 3 is all about scenery – how artists illustrate backgrounds, foregrounds, and how they differ from one another. When one artist sees a view, they remember and paint it differently than other artists would do so. Different artists emphasize different parts of their world such as prioritizing which objects get brighter colors and their positions within the frame. This shows how everybody sees things differently. Ten people can look at the same scene, but remember it and depict in ten, very different ways.

For example, Egyptians first started off by painting literally what they saw. They focused on accurately drawing shapes of objects, almost seemingly drawing things in the form of maps. This method lacks the beauty found in nature. Things are essentially drawn as geometrical figures, but in nature things aren’t really found like that. Objects come in different shapes and sizes, with a wide assortment of colors. By the middle of the nineteenth century, artists began to use their eyes as photographers used cameras – merely to see. Artists realized that what they drew didn’t just have to be a representation of what they saw, but more of an expression of their own thoughts and feelings.

On the other hand, chapter 4 is all about portraying the human body and perspective. At first, artists did not take into account perspective. For this reason, many of their paintings represented humans in two dimensions. The Egyptians for example, wanted to create a method of drawing human bodies, which represented the face with a profile view, the shoulders with a front view, and the legs with a side view. Paintings in Italy from the second or first century B.C. were the first works of art to incorporate shadow. This gave the people in the paintings depth and added a sense of realism to the entire work.

With respect to perspective, artists had trouble painting what they saw, while also maintaining accuracy in their work. As a building vanishes into the distance, it appears smaller although in reality it is not smaller. Creativity was often sacrificed for accuracy. Soon people started to look for scientific reasoning. Here came the different forms of perspective. The two main forms of perspective are one-point and two-point perspective. One-point perspective involves putting a point, generally in the middle of the painting, and having everything in the painting fade away towards that one point. Two-point perspective is the same as one point perspective, but just using two different points. This added more realism, but even then people realized that this “vanishing” perspective method could sometimes appear unrealistic. The human eye does not look towards one, or even two points. It is constantly moving around looking at various things from all sorts of angles. Take a step forward, or backward, and things look even more different. This is what makes art so unique. There are no right or wrong ways to depict a scene; there are no right or wrong answers.

The Lamentation – Luis Feliciano

 

 

The Lamentation

 

The Lamentation

Master of the Codex of Saint George
(Italian, active Florence, ca. 1315–35)

Disbelief

This cannot be farewell, it simply cannot

For us – FOR US, he gave up his life

And we? What have we sacrificed?

His life – we took for granted

Now we grieve, we mourn

We scream from the hills

We scream from the mountains

What have we done? What has happened?

Our sins will haunt us everyday

The thought of his sacrifice

For US? This can’t be so

Come back, would you kindly?