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

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.

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

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

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

In order to interpret this landscape as a landscape of habitat, one must define what is meant to view a landscape as habitat. Meinig (1979) expresses that

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

Orange you glad I’m an orange? Oranges, according to various quizzes and charts, tend to be the most creative and artistic of the four personality types. When creativity comes to mind, I think of how much of an impact it has made one my life and my choices leading up to today.

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.

Photography in itself, is a means of communication, it can be used in a variety of ways in order to narrate the world around us [Campbell, D (2010)]. As a species, humanity itself has proven to be visual beings, creating pictures across a variety of mediums in order to express ourselves and represent what is happening in the world around us. Images, whether they be paintings, drawings, or photographs, have played and continue to play a very important part in our society, as everyone is able to understand the image and interpret the story from it, despite barriers such as language which may prohibit initial communication, and the work of scholars and anthropologists, and even consumers of visual culture work tirelessly to decrypt and derive meaning from these mediums [Perlmutter, DD (2003)]. Analysis and understanding of the signs that can be present within these phenomena is known as ‘semiotics’, which is derived from the Greek word semeion, for ‘sign’. It can be applied across a broad range of cultural mediums used in communication. Semiotics stresses the open-ended possibilities for any interpretation and the indeterminacy of meaning that can be taken from visual cues, and within photography, signs and visual communication of a story is paramount [Semiotics (2010)]. But is photography, in particular, landscape photography, able to convey the fullness of a story, and can everyone interpret the images and signs within those images the way they were meant to be understood, or

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

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.

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

British novelist and poet, Lawrence Durrell once said ‘We are the children of our landscape; it dictates behaviour and even thought in the measure to which we are responsive to it’. Human beings are multifarious individuals who experience the real, remembered and imagined landscapes that surround them in emotional and personal ways. The strength and lasting impact of landscapes determines the ability of the human psyche to be transformed and the uniquely personal sense of belonging individuals create with landscapes. Both Judith Wright’s poems; ‘For New England’ and ‘Train Journey’ and German artist, Caspar David Freidrichs’ painting ‘The Wanderer above the sea fog’ present the idea that landscapes can evoke strong and lasting personal responses within individuals’.

Chikmagalur is a peaceful, green town in Karnataka, India known for its coffee estates, waterfalls and overall scenic beauty. Being an Army officer’s daughter afforded me many opportunities to visit remote places in India that have seen barely any human intervention. As a result, being amongst nature has always been borderline cathartic for me; I’ve always felt connected to my surroundings in a place like that. I recently visited Chikmagalur from Bangalore, over a long weekend, hoping to revisit the beautiful feeling of being in the heart of natural beauty.