College Admissions Essay: My Passion In Drawing

Accordingly, the nature was one of the Romantic themes adored by numerous readers during this era. The author’s description of untamed environment and striking sight inspires and impresses the readers. Soothing and relaxing people through these illustrations, author takes them away from the impersonal society. For example, The Most Sublime Spectacle on Earth by John Wesley Powell vividly displays the spectacular views of Grand Canyon to make readers forget the depraved reality. “The carving of the Grand Canyon is the work of rains and rivers,” Powell stresses that Grand Canyon is the splendid work of nature, not the artificial work of

As someone who enjoys doing various forms of arts and crafts, through my love for creating things in particular, I found that by working wholeheartedly in every task I do, I find more and more of myself in what I can achieve. Vincent Van Gogh’s quote, “It is good to love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is well done” has stuck to me ever since I read it.

Thomas Cole was an 19th Century American artist who has been regarded as the founder of the Hudson River School. This was an American art movement that was known for the realistic and in depth portrayal of the American landscape and of its wilderness, both of which were heavily influenced by romanticism. One finds their ideals in the symbolic depiction of magnificent landscapes filled with literary references, sometimes close to fantastic themes. Cole’s creative process involved the creation of what he called a mind eye vision of those sites he had previously visited. He would use his senses to depict how things should look, in addition to relaying on the drawings he had made while on the field. Many of this on site sketches and drawings are full of notes where he describes the colors, the geographical formations, and the atmospheric effects at the time. Cole would make use of these factors in creating works which were both

I’ve been fascinated with with the arts my entire life, I was drawn to the emotion that can be produced without any words.

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

Landscape painting was a particularly effective vehicle for allegory because it allowed artists to make fictional subjects appear normal, conditioned, acceptable, or destined. Art was not just about the landscape, it actually allowed the spirit of the painter to come alive in their work. The allegory was for moral and spiritual concerns. The introduction to photography therefore impacted 19th century landscape in a manner that was found to be unacceptable because personal intertwinement of expression and emotion could not come from photography.

The story in my photography may not be a sequential story, but has been an emotional and personal one. My experience with photography has been from both, the side of the viewfinder and the lens. Being the photographer, you get to see items from different angles and perspective and that's something I always try to practice. As a busy college student who juggles many tasks at once, I find it important to always take time to enjoy fresh air and look at the nature around me. When enjoying nature, taking a closer look at the flowers, trees, rivers etc. have always peaked an interest to me. With my photography, I noticed that I'm drawn to landscape photography because I try to capture that delicate, colorful, and peaceful view. The purpose of these

Although a group of individuals may observe a particular landscape at the same time, in the same place, and with the same view, not one perception of the landscape will be the same as another individual’s perspective. Meinig (1979) expresses this as he states that it is “apparent that even though we gather together and look in the same direction at the same instant, we will not – we cannot – see the same landscape” (p. 1). Everyone may see the same features of the landscape but will interpret and see them in different ways. In fact, Meinig claims that there are ten different ways – ten visions – of seeing landscape. These include seeing landscape as nature, a habitat, an artifact, a system, a problem, wealth, an ideology, history, a place

Land art, a important branch of Earth art, is one of the predilection fields of Stacy Levy and Andy Goldsworthy. Andy is a British sculptor, photographer and environmentalist, whereas Stacy is a sculptor working on ecological natural patterns and processes. They are two artists whose body of arts are full of arrangement and placement works as well as natural involvement. Two pieces of art perfectly illustrating those characteristics are Riverine (Ikura) and the photograph 1981_023, respectively realized by Stacy and Andy. Indeed, those two artworks reflect social issues and hidden thoughts presented through specific contents and forms with both positive and

Ever since I was gifted a sketchbook for my sixth birthday, I developed a passion for drawing. Whether that was scribbling out random characters for my amateur comic strips or designing outfits for my pretend fashion show, I enjoyed every second of it. One day as I strolled through the career center at school, a particular dual enrollment course caught my eye. The class was encompassed around technical drawing and applying it to architecture and engineering graphics. Knowing I have been drawing since I was young and held an interest in architecture, I wanted to challenge myself by taking this class.

In the early nineteenth century, many in this country were searching for an art they could call their own. Painter, poet, and essayist, Thomas Cole responded to this quest by creating pristine landscape paintings unlike any yet seen in America. For the purpose of this project, I chose an art piece by Cole called, “Landscape, the Seat of Mr. Featherstonhaugh in the Distance” created in 1826. The reason I chose this specific painting was because of its diverse context, which allowed me to identify various concepts related to visual perception. The first concept I identify was figure-ground segregation. Figure-ground segregation refers to the perceptual separation of an object from its background (CITE). That is, the figure being the object that attracts attention and is more memorable than the ground. In the landscape artwork we can see how the cows specially the two closer to us seem to be caught more of our attention than almost anything else in the painting(e.g. the grass). In this painting the cows are the figure that stands out from its ground, which would be the grass. Similarly, we can apply this concept to the big tree on the left side of the cows in the front. The big tree can also be considered to be the figure as it stands out from the grass as well. Further, the trees further down in the painting that seem to form kind of an island can also fall into this category given that the group of tress are standing in the middle of the ground which in this case is the

Before I chose landscape architecture as a start point of my career, all I know about landscape architecture is to design things around people from small to big scale----gardens, parks, streets and urban planning. Later on I realized that I can’t just do the design from some ideas which come from my mind, research, evidence and experience are all essential preparation for design. A design idea cannot be practical without research and research cannot be practiced without design and construction.

Art. To me is something undefinable, what I want my art to show you is a piece of myself and a piece of yourself. Something we can all relate to; a memory, a song, a poem, art should make you feel something. Art is a gift, a tool we can use to hide beauty in ordinary places and things. I want to broaden my understanding of design and the world that art is beyond my knowledge and experiences. Because my love for creating burns so bright and deep within me, I am determined to find a career path that will allow me to explore the world of design and art every day. A number of art forms are endless and this seems like a daunting task to find just one path that can express the enjoyment and involvement I want to have with art. Throughout my life I have been endlessly drawing, painting, sculpting and creating--often times I feel almost cursed with such talent to create because the ability seems endless. I have taken a number of art classes exploring my passions as a High School Student and created many different types of works including oil, acrylic, and watercolor paintings; etching, embossed, and screen printmaking; charcoal, graphite, and pastel drawings; Sculpting with ceramics and plaster as well as wheel pieces. I find that there is few mediums I have yet to experiment with. I have become accustomed to Acrylic paintings as I have recently started to create paintings and sell them to community members. I participated in a local art fair and it opened my eyes to what art

Conceptual gardening restores the connection between art and garden design that was lost during the 19th and 20th centuries when plantsmanship began to rise in popularity.5 For conceptualists, the traditional ideal garden, one that is created to provide aesthetic pleasure and ooze charm, represents nothing more than the epitome of artlessness. There is little thought put towards its conception, and it holds little significance with its mixed assortment of flowers and vegetables.6 A conceptual garden, on the other hand, is created with the intent to convey a message and to elicit a response from those who view it. The purpose is not to create a natural refuge. These bold landscapes can act as a social, cultural, or historical commentaries, or even tell a story depending on what the creator wishes to construct. Designers often take inspiration from the history behind the location of the site they are building on